Since 2015 I have again been making work for soda and wood-firing. The effects of these kilns on the surfaces is unpredictable - painterly, dramatic, always unique. The ash residue leaves iridescent gold  freckles on the shino glazes. I also favour the quiet matte white glazes, blanketing the clay surface like new snow, and jewel-like celadons adding depth to the textured clay. In an interview with Ben Carter, the potter Mark Hewitt defended 'brown pots' by saying "brown is the colour you get when all the colours are mixed together" It's quiet, but when you live with this work, you discover something new about it each time you use a piece.