This collection marks a change in direction, a slowing down of process to build with a sense of looseness and improvisation. Thick coils are flattened and joined, then pinched and shaped into thin wals that have the quality of beaten metal. The clays are dark stoneware and white porcelain, the dimpled finger indentations are the surface markings.

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.

Ceramics can be a process heavy medium, and it is process to which I am drawn. I like the trajectory of making things out of clay; step-by-step, the malleable lump becomes the glassy stone-like form, defined by touch, tools, and heat. 

On average, a person spend about 8 seconds looking at a painting in a museum or gallery. If you drank your morning coffee out of a handmade mug, you spent 20 minutes touching looking at, and experiencing an object that was created with skill, creative vision, and personal expression. Pots, by their nature are collaborative. This is what makes them alive to me. 

This is a palette of soft mineral tones, a glaze base that contains apple wood ash, and fires to a crystally, sometimes stony, sometimes satin matte. Some of the colours react strongly to surface texture, revealing the viscous nature of the molten glaze

The mood of this bronze matte glaze shifts on every piece. Shades of turquoise, copper, and charcoal blend in a painterly pallette that reveals each detail of the clay surface it covers