I was a teacher for some 38 years in New York
teaching art and I finally reached a plateau with
retirement that I could seek and do and explore my
love for clay. I studied for eighteen years with
Rosemary Aiello who truly became my mentor. She
encouraged me to present myself with some 4 One
Woman Shows. I have shown and sold in several
states and my work appears in Israel, New York,
Connecticut Pittsburg and New Jersey. My greatest
influences have been Picasso, Matisse, Rudy Audio,
Peter Callas, Peter Voulkas, Paul Challef and Betty
Woodman. I am drawn to the Japanese potters. Most
of my pieces are large and sculptural; many
figurative. I was first recognized for my masks and
still use the face as a subject in many pieces. All my
work is hand built. I sometimes use a thrown bottom
or top to enhance the piece. Hand Building gives me
great satisfaction and I often alter the piece as I
build. I never pre-plan. I simply look into the slab and
see. No two pieces are ever alike.
Audrey’s work is fired in several modes. Returning to
the earth allows one to see the unexpected as in
painting with fire. Native American pottery, the
Japanese technique of Raku, 16th century firing, saw
dust firing, are essential to my firing. Oxidation has
taken my newest interest as I play with new glazes,
combinations of glazes and underglazes. The piece
determines the technique of firing.
teaching art and I finally reached a plateau with
retirement that I could seek and do and explore my
love for clay. I studied for eighteen years with
Rosemary Aiello who truly became my mentor. She
encouraged me to present myself with some 4 One
Woman Shows. I have shown and sold in several
states and my work appears in Israel, New York,
Connecticut Pittsburg and New Jersey. My greatest
influences have been Picasso, Matisse, Rudy Audio,
Peter Callas, Peter Voulkas, Paul Challef and Betty
Woodman. I am drawn to the Japanese potters. Most
of my pieces are large and sculptural; many
figurative. I was first recognized for my masks and
still use the face as a subject in many pieces. All my
work is hand built. I sometimes use a thrown bottom
or top to enhance the piece. Hand Building gives me
great satisfaction and I often alter the piece as I
build. I never pre-plan. I simply look into the slab and
see. No two pieces are ever alike.
Audrey’s work is fired in several modes. Returning to
the earth allows one to see the unexpected as in
painting with fire. Native American pottery, the
Japanese technique of Raku, 16th century firing, saw
dust firing, are essential to my firing. Oxidation has
taken my newest interest as I play with new glazes,
combinations of glazes and underglazes. The piece
determines the technique of firing.
| AUDREY WORMAN 2 Rexal Court New City, New York 10956 845.634.4176 audworman@aol.com |
