This tranquil bowl is home to three stylized oak leaves on shades of ochre and coral.

A pattern of overlapping oak leaves is rendered on this tile in shades of verdigris with copper and iron undertones.

In a space free of all distractions, two ginkgo leaves gently rest. The twin leaves have been left with only their under-glaze colors (no clear glaze was added) in order to provide contrast to the shinier background glazes in rich tones of deep red, rust, and charcoal.

The dark glaze used on this bowl “reads” as near-black, but has tones of dark red-brown, ochre and blue. The deep colors provide a dramatic backdrop for the yellow-green, orange and coral tones of the oak leaves and acorns. A unique ring of eight additional acorns forms the base or “foot” of this graceful bowl.

Tones of oranges, coral, brown and rose grace the six high-relief white oak leaves that have fallen onto a “cold” forest floor, suggestive of an oncoming frost.

This tile is rendered in extreme high relief on an incised background. The ginkgo leaves, with their graceful forms, are colored in shades of green. Some are bathed in a creamy white suggesting that winter’s cold has entrapped them on the forest floor.

A nearly-translucent yellow ground, speckled with nickel oxide, is graced by five white oak leaves in vibrant shades of coral and mahogany.

Two pin oak leaves and several acorns adorn this bowl. The dark base glaze is punctuated by soft white areas that represent frost.

Four graceful ginkgo leaves seem to have been swirled by the wind before settling into this bowl of light and dark verdigris tones. The matte glaze on the surface provides a contrast for the shiny, high-relief ginkgo leaves.

The raised veins on these three white oak leaves capture the strength of underlying form that is usually so subtle in oak leaves. On a ground of blues, light golden-green and soft white accents.

Fallen pin oak leaves in high relief intertwine on the forest floor. The leaves on this tile have a coral or greenish overtone against an incised background of deep golden-green.

A multitude of ginkgo leaves swirl and intertwine. This tile is rendered in extremely high-relief, with the most pronounced leaf measuring almost 1/2-inch from the base of the surface.

In a space free of all distractions, two ginkgo leaves gently rest. The twin leaves—one larger, the other smaller—gracefully arch into the center of the bowl. Background glazes are in rich tones of rust and charcoal, along with other undertones.

This vessel contains six oak leaves and several clusters of acorns in high relief. The leaves barely float on the surface—and, indeed, some are so delicate and fragile that the bowl is recommended for decorative use only. A ring of acorns forms the base.

Fallen pin oak leaves in high relief intertwine on the forest floor. The leaves on this tile have a greenish overtone against an incised background of deep golden-green and coral-red.

The pointy spines of the horse chestnut rise out from the shell’s surface. The background is textured to accentuate the thorniness of the motif. The green chestnut hull is split, exposing the bitter nut case beneath. This is a very “tactile” tile!

Two white oak leaves and five tiny acorns adorn this citron-chartreuse bowl. The colors are all rendered in underglaze only (no shiny/glassy glazes were applied).

A single low-relief oak leaf lies in a shallow of melting snow. Bits of “frost” punctuate the ground.

Two red oak leaves in high relief are nestled inside this tiny bowl. A pattern of incised leaf forms add depth and interest to the surface.

Twin oak leaves, twin acorns (plus a third) are strewn upon the autumnal forest floor, among incised traces of other debris. Nickel oxide spatters mimic the spots so often seen on fading leaves as winter approaches. The tile is press-molded and hand colored with a combination of underglazes and glazes, along with nickel oxide.

This piece is a celebration of the grace and movement of Ginkgo leaves. The near-absence of color invites the study of form alone. Executed in extreme high-relief, the tile is free-formed and employs a combination of underglaze and glazes.