Artist's Biography

In his early years as a potter, Ron's main body of work was functional stoneware pottery. However, for the past 15 years he has been extensively involved with highly decorative and functional lowfire work. His use of color and design on each individual piece is quite elaborate.

Ron's work has been featured in Ceramic Design Book, 500 Bowls and most recently, Tea Pots and Collectors. Articles highlighting his work have appeared in Studio Potter, Pottery Making Illustrated, and School Arts Magazine.

Artist's Technique

Ron burns intricate designs into the Styrofoam mold in the negative, and these designs are imprinted into the clay slab when it is pressed on the mold. When the piece is removed from the mold, then finished, dried, and bisque fired, he entirely covers the front and back of the piece with a design using underglazes. A clear glaze is applied before firing the piece to temperature. Ron's pieces are food safe, but because of the intricate and colorful designs, most people who collect his work hang them on the wall as clay paintings.

Favorite subjects include fish, frogs, and suns‹things from nature. His images reflect his love of color, his sense of humor, and are obviously influenced by the one-half acre of gardens‹complete with nearly 200 varieties of day lilies‹ that surround his home and studio. "I like to decorate the backs of my larger pieces although virtually no one ever sees them. If you look at the front and think that¹s all there is, the designs on the back are sort of a surprise ending-fun and exciting for me to do and for the viewer to see."

Artist's Statement

Joseph Campbell paraphrasing Kant states "the best things can't be told because they transcend thought". Those things we enjoy most cannot be explained; a flower blooming, the touch of a loved one's hand, a baby's smile.

My experiences with my work are that way. I cannot properly put into words the feel of the clay in my hands, the "growth" of the pots as they change from a shapeless mass into a bowl, casserole or vase, the look of the dry glazes as I decorate, the touch and visual experience of the work as it comes from the kiln. I am at a loss when trying to explain the pleasure derived from seeing a vase holding flowers, a casserole being cooked in, bowls being used to serve or a platter simply being enjoyed visually. I want to make good pots for people to enjoy functionally, visually and tactually.