All work is created by me, from the initial inspiration, through the design, making and finishing. The subtle variations in each item are introduced as part of the making process, ensuring each finished piece is unique. I make delicate, translucent vessels and sculptural botanical structures using traditional parian.
I am always working to convey a sense of optimism and wonder within each piece. Working with a limited palette of striking colours against the ice-white clay my ceramics feature crisp, fluid patterns inspired by botanical structures and movement across rural landscapes such as a swallow’s flight or a breeze through a wheat field. Colour schemes represent birdlife, like goldfinch and kingfisher.
Some of the work has been created in response to Seasonal Affective Disorder, which follows the seasons and is impacted by lack of sunlight. Seeing the light shine through the translucent clay feels like a ray of sunlight.
Growing up in a village surrounded by farmland and woodland, I've always had an affinity with nature. I was that child that would stop in the middle of the path to examine the patterns on a leaf, or the sun shining through a droplet of dew on a spider's web; to watch a grasshopper jumping or wonder at the fluttering, erratic movement of a butterfly or a bumblebee. My interest in the minuscule detail and the way that nature can create seemingly random patterns that have an organic beauty and underlying purpose has followed me throughout life and now manifests in the work I create.
Each item is created by me, from the initial inspiration, through the design, making and finishing. I use a combination of slip-casting and slip-forming to create a distinct effect. The subtle variations in each item are introduced as part of the making process, ensuring the finished piece is unique, even if each starts from the same pattern or decoration technique.
I fell in love with traditional parian clay while studying for my MA in Ceramics at University of Wolverhampton. Having experimented with as many different types of porcelain as I could get hold of, I knew as soon as it came out of the kiln that this was something special. The quality of the light that comes through the clay is reminiscent of daylight on a spring morning and speaks of new beginnings. It still elicits a smile each time I see it.
Time and care are taken with each individual item to ensure that the finished result feels incredibly tactile. I seldom use glazes on the outside of the work so the clay itself must be smoothed out after each stage of the making and firing, receiving a final polish after the last firing completes.