I was an Art Student at Washington State University when I got hooked on Ceramics.

We used a fairly traditional approach to RAKU, including a very inefficient, wood-burning kiln that took hours to reach the relatively low temperature required for RAKU ware.

Over the years, my technique has evolved considerably.  

Now, my hand-built and wheel thrown work is always fired in an electric kiln.  I use a clay body that is almost like porcelain, instead of the more traditional, highly grogged RAKU clay.  This gives my work a certain purity of color and smoothness that I desire.  I have formulated a “Crackle” glaze similar to Paul Soldner’s well known recipe that I use on the body of the pieces.  The bright colors that I use as accent are low-fire commercial glazes.  Because of the more fragile clay body, my work does not have the ability to withstand the thermal shock of a “normal” RAKU firing.  I have to be very careful during the post-fire.  Each piece is placed into its own metal container with the combustible of choice—almost exclusively newspaper.

For me, it’s All about the Crackle!