These discs were made for architectural facilities. They had a lot of technical inventions- many schools would never let students adopt. Because they were all fired in my kilns I could do whatever I wanted and the way I wanted. Scale was a big deal- they had to fill the wall and not be just a part of selections.
Because of the success of these pieces, I went on to do many mural projects and scale from 4"x4" to 20'x20'.
The Genzler Architectural Firm, Denver, CO chose one of these pieces as Best of Show 1987 and I was invited to many shows in Denver through their guidance.
Later I began to do bronze discs by making molds of these pieces and going on to mold-made products which also broadened my sculptural aspirations. I am reminded today that I have all these molds that could still kick into action and get back to being active in fabrications. But I like a soft easy life now and I have hundreds of these pieces nobody has seen.
Making large tortillas in clay took lots of muscle power. Lifting all this in as greenware - unfired took determination and a vision of how to support it once it was in the kiln=- fired or unfired. Glazing became a series of events that overshadowed each layer of glaze. Firings had to be so precise that the piece would not start to melt and bend with the temperature range. Shipping works to Chicago, Boston of L.A. was just too delicate for women to handle. So I started making molds off these fired pieces and on into Bronze. Then colors were added with a completely different application.
The works I took to Japan and S. Korea were from this kind of work and later I attached the discs to a thrown vertical base that let it stand by itself. Colors began to mix with ceramic ideas and applications to latex and oil bases. My works were highly prized in Asia.
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