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My work is linked to painting.
I use the ceramic surface as a canvas for my response to a literal and abstract, personal landscape. I love the spontaneity and mark making quality of clay. I hope to make the work approachable and tactile, in opposition to the “hands-off” and precious association of fine ceramics. Hence, the tension of a matt exterior against the glazed interior. Also, the braille-like blobs, and sometimes, peg pieces or add-on tablets which are meant to be played or fiddled with. The work is not intended to be functional but if it is perceived as such, that is fine.
The forms are slab-built in red earthenware clay. The surface is derived from undereglazes, slips, engobes and glazes and is scratched or embossed before and after forming. I fire in an electric kiln to 1100 and then down for lustres and low-fire glazes. I do re-fire but try to limit the firings as the work risks being laboured
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