everyday observations and responses to nature combine with a fascination
for pattern to influence my work. I enjoy orchestrating a three-way
conversation in which material, kiln and maker all have a say.
The choice of a porcelain clay body is fundamental, it has great
strength combined with a subtle visual beauty which I use quite
a simple fluid glaze to enhance. An unexpected inability to make
for nearly seven years through illness has only served to sharpen
my sense of purpose.
Stimulus for a new area of work came during a visit to the London
aquarium, I recognized the moment immediately as it hit me between
the eyes, a silvery blizzard of fish weaving the water in a restless
display of subtly changing shapes.
It was all I needed. That, grafted on to old concerns; I love soft
fluid glazes that take the eye on a journey revealing details, those
caught and unrepeatable moments of interaction between maker, material
and kiln. Blown glass too has always held a fascination for me,
and just to make life interesting I wanted to include something
of that aesthetic in my new work. Porcelain was still my preferred
medium combining strength and a clear canvas clarity for the quiet
colours I want to use.
At present I am adding to the layers of dialogue by rekindling an
old conversation that I started about ten years ago, embracing an
echo that has rolled down the generations of makers. Potters and
clay people of all persuasions have been seeking an answer to the
age old question of how best to glaze work all over. Reluctantly
at present, my powers of clay levitation are somewhat limited so
somewhere, somehow I too must learn to embrace a place of meaningful