The freshly thrown or rolled porcelain is allowed to set up until a skin forms on its surface, then, using a collection of found and homemade stamps, pattern is embossed onto the surface. After bisque firing, a deep cobalt glaze is brushed over the patterns, then scraped and sponged back, so that just a trace remains. Finally the piece is dipped in a pale celadon glaze. The blue inlay picks up all the surface detail, even as it melts and softens the line quality.
Green and black
The mood of this bronze matte glaze shifts on every piece. Shades of turquoise, copper, and charcoal blend in a painterly pallette that reveals each detail of the clay surface it covers
Angled berry bowl
Cream, grey, rose, mint
This is a palette of soft mineral tones, a glaze base that contains apple wood ash, and fires to a crystally, sometimes stony, sometimes satin matte. Some of the colours react strongly to surface texture, revealing the viscous nature of the molten glaze
Brown and orange
Since 2015 I have again been making work for soda and wood-firing. The effects of these kilns on the surfaces is unpredictable - painterly, dramatic, always unique. The ash residue leaves iridescent gold freckles on the shino glazes. I also favour the quiet matte white glazes, blanketing the clay surface like new snow, and jewel-like celadons adding depth to the textured clay. In an interview with Ben Carter, the potter Mark Hewitt defended 'brown pots' by saying "brown is the colour you get when all the colours are mixed together" It's quiet, but when you live with this work, you discover something new about it each time you use a piece.
Porcelain dessert bowls
Drippy latte cup
Milk frothing jug
Ceramics can be a process heavy medium, and it is process to which I am drawn. I like the trajectory of making things out of clay; step-by-step, the malleable lump becomes the glassy stone-like form, defined by touch, tools, and heat.
Living with pots
On average, a person spend about 8 seconds looking at a painting in a museum or gallery. If you drank your morning coffee out of a handmade mug, you spent 20 minutes touching looking at, and experiencing an object that was created with skill, creative vision, and personal expression. Pots, by their nature are collaborative. This is what makes them alive to me.
Warm, lively red-brown terra cotta was my material of choice for many years. I developed a palette of multi-coloured shiny and matte glazes, which contrasted with the skin like finish of the smooth clay. Surface was a place to play with pattern and decoration, drawing through juicy white slip.