Years ago in Malaysia I witnessed a demonstration on the wheel and it planted the seed. I was drawn to the idea of indefinite variation, of tapping an eternity of creativity. From that point I paid close attention to ceramic arts. Upon arrival in the United States, I received my degree in product design but had the opportunity to take ceramic classes as an elective. After working in hospitality for a few years, I decided to pursue the vision that had formed so strongly as a youth. I set up a small studio and began exploring the possibilities.

The essence of my work is to create a visual interest that will trigger an aesthetic response. The vessels articulate a rhythm that appeals to an abstract of universal human emotion.

My goal is to simply make good work.

The kiln is obviously an integral part of my process, I make the work and my kiln finishes it.  My glazes articulate the forms.  It is imperative that the kiln in which they are fired is reliable, making it an indispensable tool for me. My time is valuable and, for this reason, the kiln needs to be low maintenance and consistent.

When I was shopping for a kiln, the L & L ceramic element holders really drew my attention.  I had seen the channels in other kilns deteriorate and crumble over time from changing the elements.  Many times I bump the kiln walls as I am loading or unloading shelves.  The ceramic channels really protect the elements and allow for easy element replacement.

Another important feature of the L & L kiln is the DynaTrol.  My firings are usually ^9 to ^10, often I multi-fire.  In addition, I like to slow cool my glazes and the Dynatrol enables me to do so effortlessly.  This feature allows my glazes to develop the crystals in the glass matrix that I desire.  While I do use cones, they are more a gauge of heat work and not a guide to dictate my firing cycle.  I totally trust my L & L to do its job once it is programmed.

My mission is to create interesting electric fired glazes, and my L&L kiln is my silent partner.