Porcelain is a primary material for me; utilising its properties of luxury and strength to create thin lightweight components which are often juxtaposed with found detritus - purity and the damned. An interdisciplinary methodology encourages curiosity to uncover versions of happiness. When re-imagining new life for the overlooked and discarded, my underlying process is of playfulness - a light touch - simply defining the divining of an essence. For me, clay is something to be poked, prodded and torn; it is subdued only when absolutely necessary.
Allow what is to be
Risks are taken with materials and glazing but this enables magic to happen. In testing the boundaries of these materials I am encouraging the unforeseen; creating discrete objects which inhabit unexpected worlds.
During the pandemic in 2020 I began weaving containers from rusty wire as an act of comfort and soothing repetition of movement when so many of us were bewildered and bereft, unable to comprehend how our lives had changed so dramatically. I often populated them with hand-made porcelain elements, such as fish, and wondered whether these occupants were cocooned or trapped in their metal casing, and were we contained or protected during Lockdown. The videos I made of the Fish Traps at the beach demonstrate the vagaries of our lives tossed around by the waves.
Porcelain is often mistaken for being delicate or easily broken, yet its luxurious qualities are its inherent strength - the fine smooth clay particles and high kiln temperatures create a stronger ceramic form compared with lower fired earthenware.
This is my guarantee for a sustainable practice
When you buy my work, it is accompanied by a promise. That for as long as I am well and able, if misfortune should befall an item, I will make good, repair, replace or recycle, endeavouring to prolong the life of the piece to honour the precious material resources taken and used from our planet.