For me, writing is like the thoughtful stringing of beads. Each bead is chosen not only because it seems right in itself but for how it relates to all the other beads on the string. Words, like beads, have color and density, transparency and opaqueness, come in various sizes, and carry semblances of cultural origins. And like beads can be used to create structure and form.

But this is a limited metaphor. Whereas stringing beads, like working with clay, begins with physical material, writing begins in the aural realm. Before words are written or typed, they are heard, albeit silently. Only after being heard are they codified into recognizable symbols. But it is not the writing itself that is the mystery. Rather, the mystery exists in being aware of a fuzziness that wants to be shaped, of an idea that wants to “seen”, of a fragment that wants to be enlarged. Once any of these invitations are considered, and the act of writing begins, pleasure and frustration are not far behind.

Both words and clay allow for unique voices to be realized through shared languages. And both hold promising potentials for realizing what I try to say.

Below is a list of writings from various publications.

“A Certain Kind of Hunger”, Studio Potter, Winter/Spring 2010 PUBLICATIONS
“Rendering Text”, Studio Potter, Summer/Fall 2007
“Struggling to Understand (And the Rewards of Uncertainty)”,Ceramics Monthly, Aug/Sept 2006
“Teaching Ceramic History”, NCECA Journal, 1998
“Living With and Learning from traditional Pottery”, Studio Potter, June 1996
“Art, Mothering, and Dialogue”, Ceramics Monthly, J/J/A 1993
“Spanish Pottery Made in Ancient Styles”, New York Times, August 14, 1988
“Spanish Folk Pottery: Part I and II”, Ceramics Monthly, April and May 1989
“Fulbright: A Short Summary”, NCECA Journal, 1989

Wrote a one-act play, “the Zippered Circus”, produced by The Philadelphia Playwright’s Workshop, 1978
“An Undergraduate’s View of Research”, American Journal of Physics, April 1974