Clay has worked well for me in part because it is so good at recording the moment (and so discouraging of reworking “the moment”).
My firing process – wood, plus oil, plus a little salt – is intended to make the pots as visible as possible without covering up what happened during the making, and finally, what the pot endured in the kiln.
I believe that shape is a potent vehicle for embodying truths that are not easily articulated any other way. My job is to get the shapes right. I have to hope that once in a while a shape connects with somebody. It’s not simple and, I would guess, rarely a quick read, but people who have my pots for a time often tell me how important they have become for them. That’s what it’s all about.