It happened three years ago.
I fought it at first. I knew clay. I worked with clay in my art studio for more than 30 years. I studied glazes and firing processes and different clay bodies and knew what I needed to do to achieve the effects I wanted. For years, I loved the feeling of holding clay - both alive and calming. I loved the way I could manipulate it to get texture in a piece. I loved the excitement of opening the kiln and seeing how the magic of heat had changed the work inside. But I was also tired of the dust and the glaze chemicals.