I am drawn to making techniques that celebrate a pot’s journey: those that reveal the maker’s hands and the wheel in harmony, exposing successes and honest imperfections. In my own approach to making I have crafted wooden tools that evoke the marks of turning, the softness and spinning of the clay on the wheel.
In firing, I have chosen to salt glaze, for its characteristic texture of subtle or marked pitting. This type of glazing enhances the clay surface, highlighting any mark-making, as the salt embeds itself and reacts with the underlying slip.
At its best I feel this approach produces freshness and vibrancy, and the everyday can become something unique and individual, with its own character.
While at Clay College, I have explored forms and mark-making that reference architecture, in particular, buildings I have visited that have left an impression on me. I am also inspired by ceramics of the 17th and 18th century – a period of great innovation, growth and creativity in Europe, and of exquisite ceramics in Asia. My work focuses on the familiar, taking it forward with a dash of humour and an oblique nod to its source. I am most happy with a finished piece that makes me smile, that might be an old friend and that I find myself seeking out.