As a potter making functional work, I am challenged by both aesthetic, and ergonomic considerations. That means paying particular attention to lids, spouts and handles, important details that can make handmade pots a pleasure to use. The accessibility of a functional craft object that can engage the user on a daily basis is an important aspect of my practice, and with a relatively small investment the user can own a small piece of daily, useful art. I am interested in surfaces that invite touch and exploration; texture as pattern, contrasting matte and gloss surfaces, marks left by the firing process. The most successful surfaces have an organic quality, reminiscent of moss, ice crystals, or the sea.
I often work in small editions, making each piece by hand allows me to constantly refine designs. The forms evolve slowly through reflection, observing the pots in a group, comparing proportions and surface quality. The relationship between a grouping of pots, and the ability of both gesture and anthro/zoomorphic forms to activate a neighbouring form helps to energize the work. I’m interested in incorporating fluid line, with curvilinear shape, and contrasting glazes.
I strive to keep traditional domestic design relevant in an increasingly fast-paced society. Handmade objects take time. They connect us to each other and are a physical manifestation of the makers time, skill and energy. Influenced by historic pots and their ritual use, a more contemplative object can provide a moment of reflection and connection. A link to the past, and an intimate moment in the present, shared with family and friends