The palette of my work is predominately muted color accented with saturated details. Glazes envelop the pot as a layered skin, enhancing volume and emphasizing function. Comfortable, inviting surfaces and colors form geometric planes that intersect, creating a line that emphasizes function by visually delineating the path of the vessel's contents.

To develop depth of surface, emphasize where a pot might be touched, and highlight hidden or intimate places, I contrast strong shiny glazes against mottled neutrals, so that bright details reach out from a receding background. Adding underglaze speckles to the neutral areas subtly defines bellies or undersides of pots, in the way fishes' backs and birds' breasts are bespotted.

Accent colors and their placement are a curious game for me. I strive for swatches of rich color floating on dimensional planes. A red-winged blackbird's scarlet shoulder in a cattail field, brake lights in the night, or a lipstick mark on a glass are starting places for my use of bright colors in counterpoint to broad neutral surfaces. Even in small amounts, red draws on emotion and is associated with strong signals: traffic signs and lights mean stop when red. Berries are ascertained to be ripe or possibly poisonous by their color. Scarlet flowers beckon hummingbirds to sip. Cheeks blush and red lips entice. Red calls: Look here, notice this.

Dressing pots in color changes the way they are perceived. I combine the signals I see in the world and hybridize their colors, shapes and placement as accents on my pottery. Three red dots on the neck of a pitcher call to mind both the markings of a ruby-throated hummingbird and the pattern of a traffic light. I want to pique the curiosity and enjoyment of the user with colors that communicate my excitement and observations.