I don't like to design single objects. I like my pieces to have a relationship to each other. They can be mother and child, like the Schmoo salt and pepper shakers, or brother and sister like the Birdie salt and peppers, or cousins, like most of my dinnerware sets.

Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.

The pleasure of making things beautiful or useful involves your feelings as well as your thinking. When your original sketch evolves into a tangible, three-dimensional object, your heart is anxiously following the process of your work. And the love involved in making it is conveyed to those for whom you made it.

If I hadn't been a designer, I'd have been a painter. I began as a painter and learned the craft of pottery in order to support myself.

The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.

The playful search for beauty.

My work is very bodily. It's not a shell, but a body.