Linda’s art education began with six years of Art classes in public school. Her first introduction to clay was a semester under famed potter, Don Ellis, in 1998. She spent the next five years developing hand building skills in her spare time at home.
In 2005 Linda attended a Summer Session in sculpture headed by Walter McConell at New York State College of Ceramics in Alfred, New York. The experience exposed her to Ceramic Artists from around the world.
Exposure to the Southern California school of thought were introduced in a Summer Session under Brian Yancey at New Mexico State University-Alamogordo, where she continues to attend classes.

Linda most often works with earthen ware clay, which affords a wider range of color and requires less energy to fire. She employs the use of slabs, coils, pinching and carving, occasionally using a potter’s wheel. Her original, one of a kind pieces are fired in an electric kiln using commercially prepared glazes and coloring oxides. Firings range from cone 5 firings to cone 020 luster firings. Linda looks forward to exploring alternative firing methods in the near future.

I dabbled in two dimensional medium until my son took a college class in ceramics. He encouraged me to take the class and a monster was born! The tactile sensuality of clay drew me in.
The conflicting attributes of strength and fragility in fired clay appeal to me. (An amphora can lie at the bottom of the sea, intact, for thousands of years and yet a blow from a hand can render it a pile of shards.)

The class began with hand building, to get a feel for the clay. Throwing on a potter’s wheel was also taught but I didn’t own one. I did have the space for a work table and the rudimentary tools to sculpt, whittle, pinch and roll out slabs.

The diverse nature of clay allows me to explore method, stretch my skills and exercise my imagination. It has infinite possibility for shape, texture, sheen and color, always with an element of possible surprise provided by the kiln.