When I was six, I made my first two pots – on Lucie Rie’s lap. Later I became a dancer but as my body became less and less biddable, I found myself drawn back to the medium of clay.
I enjoy the onerous work of recycling stoneware, struggle with the limpness of porcelain, and the uncertain complexities of glaze. I push these muds into more and more demanding poses, exploring how weight and mass create multiple tipping points and conflicting configurations of balance.
Figure and ground are always concerns, whether inspired by the wild and open or the urban. Fascinated by London’s clay and our consistently changing relationship to it, I subvert the human drive to drill and in-fill, to discard and construct, turning over the earth’s surface to make sculptures and objects that are conundrums that demand to be handled and re-positioned.
CV
2023, Salad Days, The Ocasionnale, East Sussex. 14 artists invited to create work "no larger than a small salad Bowl" for the opening of a new white space gallery.
2022, Residency, Old Barn, Milton Street, East Sussex. Created four site specific installations of ceramic sculptural forms for the garden and barn spaces.
titles: Fuked Up Veg - green house, Maud, court garden, Malum in apple trees, Fish Course and Talking Heads
2021, Tobe Village, Japan, Ceramic Practice Creative Development forum. Convener: Mamiko Karasudani. I was one of three artists invited to talk about my practice in this cultural exchange project.
2020, Briefly In Transit, a post lockdown sculpture trail funded by The Arts Council, England, curated by Rebekah Dean at Stephen’s House and Gardens, Finchley. Estuary Series, 12 ceramic freestanding sculptural forms made from unglazed stoneware clay, inspired by the experience of walking in the Cullin Mountains and exploring remote beaches in north-west Scotland,