The medium I work in is clay. It is an excellent material for decorative architectural enhancement. The surface spontaneity inherent in clay contributes to the dynamic liveliness of my work and to the need to sculpt swiftly before the clay dries.

Sculpting is done on a large easle and when complete the mural is cut into sections following the contours of the bas-relief. Next, I hollow excess clay from the back of each piece, reassemble the entire mural at on the oor and rework the surface. It takes two months for the clay to dry. During this time I add the detailed surface coloration with stains and glazes.

After carefully loading the pieces into my gas-red salt-glazed kiln the mural pieces are red to 2275 degrees fahrenheit. The high temperature vitries the clay so it can no longer absorb water. The stains and glazes I use have a very broad range of color including intense warm red, unusual in stone ware palettes. The light salt glazing adds a subtle orange-peel texture in some areas. 

After ring, the pieces are permanently adhered to the substrate with industrial epoxy. When installed, the structural weight of the mounted mural is about three to ve pounds per square foot. Fired stoneware is very hard and durable; colors are permanent and stable; the surface is easily maintained.