I have been a ‘maker’ for as long as I can remember and still have pots I made as a six-year old child in Cornwall. My work is often a response to natural forms and landscape and I usually work in porcelain where I’m fascinated by the interaction between the form I create and the firing process. I use pit firing, raku or wood kilns by choice, often with no glaze, celebrating the unpredictability of the results and the combination of fragility and strength that is porcelain. Ceramics is ‘elemental’ – earth and water transformed by air and fire. My role is to create the most beautiful form I can and take a leap of faith. You could say my work is about hope and optimism.
To see my work ‘live’ or to see where I have shown in the past look at Exhibitions and Events
Some background – how I got ‘here’
2018 – Playing with slip
I like the idea of repetition in work, so made some moulds and played around slip casting. I’ve tried several firing techniques, and made a total mess of the dining room floor several times!
More slipcast work
2017 – Exploring wood firing and its effect on porcelain
I’d made a lot of ‘jellyfish’ – draped thin porcelain, and tried some of them in the wood kiln. Some of them took interesting colouring, some had their shape transformed by the force of the flame. They sometimes became almost like glass.
So, I bought an incinerator bin, some sawdust and some chemicals, put them together with some pots, took a leap of faith and got these! Being a bit of a pyromaniac helps if you are a potter….
More pitfired pots
Early raku ware – something I plan to get back to. I was seduced by the element of mystery in what came out of the fire…All these have found new homes.
This is the pot that started my journey into primitive firing techniques. It’s a naked raku pot that I made at the Sheffield Ceramic Festival in 2014 with Mike Scown. I was hooked!
I have started potting four times in my life, at 6, at 17, and 35 and again at 54. I respond the tactile nature of the medium, and its many states and I also love to get messy. It has provided an antidote to the more virtual domain of video production, which I worked in for 30 years, and can be meditative and relaxing or challenging and frustrating in turn.