Creating the elegant, primitive pots that you see in the gallery is a labour of love, and patience that may transcend sanity at times. But it is the patient type of work that consumes you, and hours fly by while you are lost in the precision. No two pots can be the same - it is statistically impossible. I've tried to closely duplicate a shape I liked very well, and the clay teaches me a lesson every time. I can choose the size (sometimes), and perhaps the shape of the shoulder, the size of the opening. But when I really want to enjoy my time with the clay, I check my great thinking power at the studio door, and let my hands and the clay take the lead. Then is time for the firing. The raku firing is the bridge from the ying into the yang I have learned thru years of experience how to manipulate the glaze to get the color that suits the form I created. With the blue indigo to sea blue from the vibrant greens yellow grass colored to the crimson reds. Then to the primative side of horsehair and naked raku firings.