Golden Light on 18th. 2009. Gouache on mulberry paper, 15 x 15 in.
I decided to take a creative sabbatical, giving myself a year, or as long as my savings would allow I wanted to continue working in the studio, but in an open-ended way.
Casbon. Cages and Three, 1998. Clay, glaze, and stain.
Where is the boundary between two-dimensional drawing and three-dimensional form? Longtime friends - a sculptor and a potter – we find ourselves in the midst of the two, and we ponder the relationships that exist there.
Entrance to Dragon Kiln, Guizhou
My recent China experience has been immense, and the influences seem elusive, but with the flow of time an unconscious expression may prevail.
In 2007 a group of American potters was invited to a residency program at Fuping, in Shaanxi, China. This is the location of the International Ceramic Art Museum, a large tile-factory complex occupying many acres of fruit-orchard land.
Holly Hanessian, My Taste Your Bones. 2010. Sculptural book edition, 1 of 4. Porcelain containers and book covers,  laser-engraved acrylic lid, test tubes, nails, hair and fishing line. 9.5 x 7 x 4.5 in.
Consider the state of ceramics today, as our culture settles into the information era. Those of us who work in clay have more options than ever seemed possible.
Trivet, 2009. Vinyl wall pattern, dark stoneware, silk-screened transfers, 6in.
The concept of the pot is this kind of boundary: a set of qualities that differentiate one kind of object from an­ other. When that became clear, the decision to make pots provided me an entry point into a creative practice.