My first exposure to clown work was in the 1970’s when I stage-managed a touring clown production directed by Richard Pochinko. He was the first in Canada to explore clowning in the theatre as opposed to the circus. Because of that show, I was inspired to try my hand at clowning.

I was accepted to attend a clown workshop and study with Pochinko in Ottawa in 1974. Since then I have studied with Jan Henderson, one of Pochinko’s students, and taken a university level course in clowning through the University of Alberta Drama Department also taught by Jan Henderson.

The clowning process employs the use of character masks, which are created by the workshop participants during the session using papier maché. The mask making is accomplished in an intuitive fashion by sculpting clay while blindfolded and then building the mask over the clay form. Once released from the clay, the masks are then painted.

When wearing the character mask, I am able to intuit details of lives and stories of quirky folks and incredible creatures. The ephemeral nature of that work, although heady and wonderful at the time, makes it an unsatisfying practice on a continual basis.

Now, instead of creating and animating masks, I explore the entire body in miniature and create whole people - individuals with detailed lives and stories, which are revealed to me as I create them. I use the same intuitive process, although not blindfolded, when creating the characters. I believe the Art Dolls I create evoke their own stories from the viewers.

Recently I have added backgrounds for the characters and am exploring creating environments for the dolls to inhabit.

I work with papier mache, paper clay, polymer clay. I incorporate found objects, and use collage and bookmaking techniques for the backdrops.