The making process

The making process begins with a ball of clay pinched into a shape that forms the base of a pot. From there I begin hand-building with coils of clay moulded onto each other. Once built, the clay is smoothed and refined but I embrace imprecision and the unexpected marks left behind from the making process, such as rips, tears and torn edges. I use the minimal amount of tools whilst I’m constructing a piece, preferring the clay to be shaped by the touch of my hands. This becomes the first layer of the complex surfaces I create.

The ancient surface finish, Terra Sigillata, an ultra-fine clay slip, is then applied to imbue a soft sheen, followed by a ‘biscuit’ firing in an electric kiln.

The final layer of decoration comes from an alternative firing technique - smoke firing, pit firing or barrel firing - all embracing the brutality of the firing process. Here I link my ceramic work to my life and surroundings, foraging my invaluable studio garden and the surrounding countryside for combustible, organic materials which both fuel the firing and infuse an array of beautifully ethereal marks onto the surface of the work.

I’m fascinated with the diversity of the finishes produced by the change of the seasons. The plant life and wood, the change in the weather, all directing the results. Every firing is a lesson learned, with experience and experimentation giving each piece a unique, unrepeatable finish.