"Since I favor the asymmetry of free-form shapes, handbuilding is a natural medium for me. In this area I am basically self-taught and have acquired techniques by trial and, frequently, by error. My methods are as rustic as my surroundings. Slabs, for example, are formed with a rolling pin, since I have neither the space nor the inclination to use a slab roller. I very rarely make templates, because nonconformity of the slabs is a desirable feature in my style of work, and I never make preliminary sketches for my pots. 

"I like the spontaneity that results from not knowing their exact outcome. Sometimes I produce composite pieces where the elements can be arranged in different configurations.

"My slabs, once rolled, are worked into their final shape using a variety of molds and supports. I form bowls upside down by draping single or multiple slabs over tough, deflatable vinyl balloons (normally used in physiotherapy exercises). I gradually release air from the balloon to prevent cracking as the clay contracts during the initial drying. Once the bowl is leather hard, I set it right side up on a foam-rubber pad, extract the balloon and smoothe the interior seams. 

"Vases are often supported during construction by sections of stove pipe or the cores from bolts of fabric. In both bowls and vases, I often leave the exterior seams showing so as to emphasize the structure of the piece. They may be flush with the body of the pot, or the upper slab may project in the form of a wing or a torn flap.

"Sometimes I texture the outside of my pots, using such diverse objects as catalpa seeds, a piece of threaded plastic tubing, a carved table leg, scraps of metal from the treasure trove of New York's streets - the list is endless! In many cases, particularly in the largest bowls, I opt for an unglazed exterior, since I like the contrast between the bare external clay and the richness of the glazed interior. 

"My preferred clay is a dark red stoneware body which unfortunately includes the now unavailable Jordan clay. I dread the day when my supply is exhausted, and I am obliged to use a reformulated version.

"In order to achieve depth of color, I often apply three layers of glaze to my pieces, the first two poured quickly to avoid excessive thickness, and the third sprayed. I try to control glaze overlaps when I pour in order to achieve interesting variations of color. I glaze-fire slowly to cone 6 in an electric kiln. Small pieces I manage to once-fire, but repeated disasters when I try to glaze large greenware pieces have convinced me that bisquing is in their case a real necessity. Under the repeated glaze applications, the greenware simply disintegrated.

"I sell my work chiefly through galleries, either on a regular basis or in special shows. My favorite selling method, however, is to visitors to my studio, since I enjoy the direct contact and the opportunity to show them how I work."