The decade of the 1980s produced an explosion of technical virtuosity by many turners in the field, especially in the direction of pursuing natural edge burl vessels. Having thoroughly explored that motif by 1989, I took a complete break by starting the Solstice series. I then returned to making my “normal” vessels around 1991. And that’s when things changed.

With the aid of my new tool designs, I was able to shrink the size of the openings of my forms. This not only increased the drama of the actual shapes, but it also added an element of mystery to the interior. The result was that the new work strongly referenced the ceramic forms I had made as an undergraduate. Moreover, these thin-walled forms symbolized a wooden membrane surrounding the energy of the interior. It was time to call them what they were: wooden pots.