In the delicate dance between artisan and element, where clay surrenders to intention and glaze transforms to permanent memory, two equine spirits emerge from the fired canvas of possibility. These prancing ponies, caught in eternal revelry, speak to the untamed heart of the Pacific Northwest—a place where the boundary between earth and sky dissolves in perpetual negotiation.

Their forms, etched with deliberate grace into the ceramic’s willing surface, capture that liminal moment between motion and stillness, where hooves seem to barely kiss the ground before lifting again into dream. The wind that carries them—rendered in sweeping lines that echo the region’s eternal atmospheric dance—becomes both medium and message, speaking of those endless conversations between storm and shore that define this corner of the world.

Here, in this fired testimony to joy’s ephemeral nature, the waves that frame these spirited creatures carry the same restless energy that eternally shapes our coastline. They curl and surge across the tile’s terrain like memories of every storm that has ever graced our shores, each line a testament to the way water writes its story upon the world—sometimes in whispers, sometimes in thunderous declarations.

The ponies themselves emerge as more than mere figures; they become avatars of that wild spirit that still runs untamed through our regional consciousness. Their manes, caught in mid-flight, mirror the way cedar boughs dance in winter gales, while their fluid forms speak to that essential freedom that resides in all things untamed and true to their nature.

In this single frame of fired clay, I’ve tried to capture something of the soul of this place—where elements conspire in endless play, where boundaries between real and mythic blur like shoreline in fog, and where every creature, whether rendered in clay or flesh, dances to rhythms as ancient as the tides themselves.