Several themes and directions have persisted in our work. First, we are fascinated with vessel forms and ideas of storage. Second, we are engaged in representing flora and fauna which exist in our Nova Scotian environment, both as symbols of the natural world, and as unique metaphors for human foibles. Finally, we investigate ideas of collaboration as an interaction of personalities, and within our ceramic tradition as a synthesis where the forms of the thrower become a canvas for the decorator. These three areas of concern are woven together into an evolving body of ceramic work. The images we present are often realistic, and at times naturalistic. The vessels are profoundly nonrepresentational and are part of the tradition of functional storage. In this domain hollow forms suggest both interior consciousness and exterior physicality.
It is clear to us that the lives of humans and animals have been intimately connected throughout history. This connection has manifested itself in art and craft throughout all ages and cultures. In our current body of work we have focused on animals who are often perceived as pests or nuisances. Most of them are clever survivors. Some have been hunted relentlessly. Still others have attached themselves closely to our urban environments. We have attempted to present some of them artistically while working within and being influenced by the traditions of historical ceramics. Animals have usually been anthropomorphized, glamorized, or demonized by their presenters. We prefer to present them sympathetically more or less as we see them; living sentient creatures who share this planet with us. How poor life would be without animals other than the ones we eat for food, or keep as pets.