I was initially drawn to making contemporary, functional pottery because it straddles utility and beauty. Trying to develop a form that is a joy to use and also considers scale, colour and texture is an endless process. I am interested in exploring that balance and how a functional object can simultaneously be a beautiful work of craftsmanship.
I work on the pottery wheel, making forms which are clean, simple and calm; as though a neutral yet familiar space. The surface design is built up using layers of slip, mark making, carved textures and illustrations, and ceramic stain pigments. These materials and techniques are tools to interpret the world around me. I am constantly inspired by urban decay, weathered surfaces, cityscapes, lichen, moss, seaweed and microcosms. I often pair abstract slip decoration with intricate, illustrated carvings so that the contrast between them can anchor the abstraction by adding detail, and give movement to the intricate drawings.
The decision to specialise in this time-consuming surface design while still prioritising functional ware is a conscious step away from mass-produced, disposable table ware and towards an ethos of slow-living and giving time to a piece that will then be used for many years.
I am influenced by many artists but I’m particularly drawn to the work of, Andrew Ludick, Craig Underhill, Diana Fayt, Lauren Mabry, Barry Steadman, Lucie Rie and Makoto Kagoshima.