I feel a great affinity toward all things ceramic, clay, pottery, earth, gardening.
So working with tile six China Clay as the medium, adding waterbased pigments, feels very natural and comfortable for me as a material with which to work.
The substrate is a high fire green leather hard clay slab
and all the painting takes place on this surface.

It’s a combination of drawing, painting, and printing to get the imagery onto the clay slab. Then the image is printed on a sheet of Reemay paper (a synthetic, nonwoven, electromagnetically charged flat sheet of air conditioning filter ‘paper’ ).

A print is pulled by rubbing the back of the Reemay sheet pressing it onto the clay slab with the image. Sometimes a second or third print may be pulled from the same image on the slab without adding additional color, each image being considerably different from the previous one as clay as well as pigment is pulled onto the Reemay each time a print is pulled.
There is quite a lot of ghost imagery remaining after each print is pulled and so one image evolves into the next as in a series or grouping or family.
Remnants,
shadows,
a continuity.