First, I choose my subject and create a painting. Oil paint
is applied on hand-cut, shaped, sanded and prepared Masonite.
At first, they are done only in Burnt Umber to achieve all the
tonalities of the work. Then slowly, I glaze in thin layers
of paint (and linseed oil) for the various colors in the painting.
Thicker layers of paint are applied over time, allowing each
layer to dry completely.
Once the painting is finished, I build the surrounding environment
for it, which is conceived at the time the painting is done;
and usually sketched out on paper. The clay is rolled out into
one-quarter inch thick slabs and cut into various shapes.
Next intricate patterns are applied using old linotype machine
“dingbats” of diamonds, Maltese crosses, squares
or triangles. I hand mold or sculpt the surrounding details.
The shapes are put together by scoring the joining areas, wetting
them with water or slip, pressing them firmly together, and
pressing a rolled coil of clay into each joint. The clay pieces
are allowed to dry at least one week. They are fired once, glazed
with my own hand-mixed glazes, and fired again for about 15
this point, the painting is glued into place. Some of the clay
pieces are painted with acrylic paints to give them a weathered
appearance, or to add some detailing after the firing. “I
use no assistants in my work, only the moral support from loved