Artist Statement

I began working with polymer clay because it has both color and three-dimensional characteristics. I use this medium for both paintings and sculptures. The colors, shapes and textures offer infinite possibilities. All the colors are in the clay, and the colors mix as if they were paint. The unlimited potential of this medium fascinates me and drives my creative process.

Polymer clay is manufactured in solid blocks of color in a wide range of hues. My process begins by studying the colors and selecting my palette. I then experiment by mixing portions of the blocks to develop original colors. Once satisfied, I find my inspiration from a theme or subject drawn from the colors. For example, a palette of blues might inspire a work about the ocean. When creating the clay designs, the form of each piece emerges organically. The clay tells me what story it wants to convey, and as I work, it materializes.

Whether I am working on a wall piece or sculpture, the clay must first be conditioned. I begin by slicing each block of clay into roughly the same thickness, and then pass the slices through a pasta machine to soften it. The smaller sheets are combined into one large sheet of color. Then, the different color sheets are cut, overlapped, and manipulated to make various designs. There are many techniques for combining colors and forming designs that were mostly developed by jewelry artists for small work that I have adapted for my paintings and sculpture. A favorite design I use is called “tapestry technique,” a method of combining colors that was developed by my first instructor, Carol Zilliacus.

For my paintings, I often sketch the layout on graph paper before cutting the sheets of clay into squares, rectangles, or other geometric shapes, each carefully measured to fit into the final design. The clay sections are then baked in a toaster oven. After baking, the sections are glued onto fabric-covered canvas. The completed work is framed without glass to allow the viewer to see the textures and intricate color combinations.

For my sculptures, I use two entirely different approaches. The “silk scarf” sculptures are designed with one sheet of uncut clay that is draped over a substructure and baked. For my “geometric sculptures,” sheets of clay are layered and cut into thick strips which are then formed into shapes. Each shape is baked flat with a peg inserted where it will be attached to another piece. After all of the component pieces are baked, they are put together with pegs and glue. This approach requires considerable planning and a bit of engineering to ensure that the sculpture stands securely when completed.

The versatile and playful nature of polymer clay adds to the joy of working with this medium. Although polymer clay is widely used for craft, my aim is to help establish this medium in the fine art world. I want to provide the viewer with art that begs to be looked at again and again and each time to notice something that was not seen before.