1981 - MFA University of North Texas, Denton, TX
1978 - BFA University of Texas, Austin, TX
2020-2022 - Brookhaven Campus, Dallas College - Faculty
1983-2021 - Brookhaven College, Dallas - Chair/Faculty, School of the Arts
1981-1982 - Tarrant Community College - Adjunct Faculty, Fine Arts
1979-1981 - University of North Texas - Teaching Associate, Fine Arts
2019 - La Meridiana, Certaldo, Italy; Exploring the Figure, Workshop with Donna Polseno
2017 - La Meridiana, Certaldo, Italy, Porcelain Tableware, Richard Hensley Workshop
2017 - La Meridiana, Certaldo, Italy; Porcelain Tableware, Workshop with Richard Hensley
2015 - La Meridiana, Certaldo, Italy; From the Wall to the Table, Workshop with Donna Polseno
2013 - La Meridiana, Certaldo, Italy; Garden Objects, Workshop with Donna Polseno
2002 - Vermont Carving and Sculpture Studio, Rutland, VT; Figurative Clay Sculpture
2001 - Vermont Carving and Sculpture Studio, Rutland, VT; Marble Carving
1996 - New Mexico Field Course, Sante Fe, NM; Ceramics
1988 - British Fiend Course; London & environs, Drawing
1985 - Italian Fiend Course; Rome & environs, Drawing
2012 - Forms of Expression: A Survey in Contemporary Clay, Middle Tennessee State U.
2011 - Watershed Center for Ceramic Arts - Newcastle, Maine
2009 - Natural Tendencies, VAL, Lewisville, TX
2007 - Line to Volume, National Council for the Education of Ceramic Arts, Louisville, KY
2007 - New Work, East Oklahoma University, University Gallery, Ada, OK
2007 - CraftHouston: Texas, Houston Center for Contemporary Craft, Traveling Exhibition
2006 - National Clay Invitational, University of Texas Gallery, Tyler
From years 2022 to 2013 inclusive
Griffin street Studios, Maxwell Studio, Dallas, TX
From years 2021,2019 to 2013 inclusive
Brookhaven College Faculty Exhibition, Forum Gallery, Dallas, TX
2019
Interchange, Complex Museum, University of Port Harcourt, Nigeria
Interchange, South Dallas Cultural Center, Dallas, TX
2018
One Evolution and Human Touch, Tong-In Gallery, Seoul, Korea
2.2.2. Dallas-Seoul-Korea, Mary Tomas Gallery, Dallas, TX
2017
Craig Hall Commission, Permanent Installation, Hall Park, Frisco TX
Latino Cultural Center, Invitational, Dallas, TX
Plano Art Center, Invitational, Plano, TX
2016
Art of the Pot, Cera-mix Studio, Austin, TX
2015
Clay Invitational, New Bedford Museum of Art, New Bedford, CT
Modartist Gallery, Dallas, TX
Couples, Bath House Gallery, Dallas, TX
2014
Woodfired, Crat Guild of Dallas, Addison, TX
20th Anniversary Exhibition, McKinney Avenue Contemporary, Dallas, TX
Texas Jewish Art Association, Jewish Community Cent er, Dallas, TX
2013
Stoked in Texas, NCECA, Houston, TX
Meadows Gallery, University of Texas, Tyler, TX
2011
Van Court Installation, Private Commission, Dallas, TX
Kittle Installation, Private Commission, Dallas, TX
2010
MOTA Exhibition, Uptown Chabad, Dallas, TX
2009
Reunion Exhibition, Practical Arts Gallery, Pheonix, AZ
Organica, Mary Tomas Gallery, Dallas, TX
Station Designer, Farmers Branch DART Station, Farmers Branch, TX
Recent Works by DCCCD Clay Artists, El Centro College, Dallas, TX
2008
3 Clay Sculptors, Galveston Community College, Galveston, TX
Academia: Pushing the Boundary, McKinney Avenue Contemporary, Dallas , TX
Hunter Installation, Private Commission, Dallas, TX
2005
Form, Fire, & Fiction, Plano Art Center, Plano, TX
2004
Texas Clay Art, Southwest Texas State University, San Marcos
Surfaces, Mountain View College, Dallas, TX
2003
Attachments, Irving Art Center, Irving, TX
Leah, Stella, & Lisa Ehrich, Brookhaven College, Dallas, TX
2002
New Work, Cidnee Patrick Gallery, Dallas, TX
Texas Mud, The Contemporary, Dallas, TX
The Clay & Glass Show, Corning College, Corning, NY
2001
>Made in Texas, New Braunfels Museum of Art, New Braunfels
Critic’s Choice, Dallas Visual Art Center, Dallas, TX
2000
New Work, Edith Baker Gallery, Dallas, TX
Clay National Invitational, Texas A & M, Commerce, TX
Station Designer, Farmers Branch DART Station
2006
San Angelo Clay National, San Angelo Museum of Art
1991
Designed Dallas Area Rapid Transit Valley View Station
Ceramics
Mastering the Craft, Richard Zakin
p.183, 2001
Ceramics Monthly
“Urban Wood Kiln"
p.35, Mar. 1999
The Best of New Ceramic Art
Hand Books, Inc.
p.18, 1997
Hand Formed Ceramics
Richard Zakin
p.86, 1995
Ceramics, Art & Perception
“NCECA Clay National”, Dec. 1993
" Having grown up in a small town in Mississippi, several things were very important to me, traveling and making things. Traveling affirmed that the world was much larger than the Delta and making things allowed my hands to understand the beauty and oddness of the world in which I lived. "
" Encouraging our creative spirit, my parents sent my sister and I to study art for the summer at the Banff Center of Arts in Alberta, Canada when I was 13. I was transformed by the experience and knew my life would always include some form of art- making. It was my sophomore year in college at the University of Texas at Austin that I took my first ceramics class. Graduate school followed at University of North Texas where my major was Ceramics and my minor, Sculpture. I graduated UNT in 1981 with a clear vision of wanting to teach in higher education and desiring to make things in clay. "
" I am enjoying 30+ years of teaching and chairing an outstanding Art Department at Brookhaven College in Dallas, TX. Clay continues to excite me as the primary medium in my studio practice. Travel also continues to be priority choice for professional and personal growth and fun. "
I make clay objects that are influenced by nature. Embedded in the layers of intention and accident are the ideas that inspire my work: the sensuality of form, implied volume, human touch to a natural object, symbols of fragility, healing, and regeneration.
My experience of working with clay cannot be separated from my life experience which includes a passion for research and travel. My eyes, head, and spirit have been filled with the images of a ceramic world that include ancient skills, timeless forms, conceptual and symbolic content. Italian niches, Stonehenge, the Canadian Rockies, my backyard garden and much more reside in my subconscious well that feeds my imagery and symbolism.
I move from throwing to handbuilding seeking the process that best actualizes the ideas that emerge. My surfaces are intended to reveal the form, to feel like the skin of an object, appearing as a natural consequence of its being. I focus on atmospheric firings to achieve the desired effects and often use sandblasting a final step. A medley of other materials is sometimes employed to complete a concept which results in a visually poetic combination.