'Through my sculptural and functional forms, I seek to celebrate imperfection, transience, and the quiet power of handmade vessels as carriers of story, biophilic connection, and belonging.'
My making process is grounded in ecological sensitivity using quiet observation, intuition and remembering. I act as a conduit, allowing my felt responses from specific nature locations and the trees that inhabit them, to move through me, then unravel into form while back in my studio. These intuitive 'echos' show a deeper truth than literal representation - I become a translator of sorts, stepping my 'self' aside, allowing and surrendering.
While making, I facilitate alliance between wild foraged clays, commercial clays and organic materials such as stone and vegetation. Each vessel is formed in response to the 'nature muse' I have studied, together with the clay's natural qualities. My practice explores the vessel as a quiet space for mindful presence, reflection, and to enhance a remembering of our biophilic connection with mother nature. My hope is that this reconnection will inspire a reignited sense of anthropogenic responsibility in our natural world.
My process of creation often starts on the potter's wheel making individual components, then combining those parts together and reforming them in response to my 'remembering' of a specific tree or piece of landscape. When weather permits, I work on location in the woodland, absorbing and translating the essence of nature as I work and using textures from my 'muse' to incorporate into the final vessels.
Environmental considerations are embedded throughout my process. I prioritise low-impact, locally sourced materials, hand-process wild clays, up-cycle redundant glazes and fire mindfully. My Carbon Literacy Training (2024) further deepened my commitment to sustainable studio practices and climate-conscious decision-making.
While making, I facilitate alliance between wild foraged clays, commercial clays and organic materials such as stone and vegetation. Each vessel is formed in response to the 'nature muse' I have studied, together with the clay's natural qualities. My practice explores the vessel as a quiet space for mindful presence, reflection, and to enhance a remembering of our biophilic connection with mother nature. My hope is that this reconnection will inspire a reignited sense of anthropogenic responsibility in our natural world.
My process of creation often starts on the potter's wheel making individual components, then combining those parts together and reforming them in response to my 'remembering' of a specific tree or piece of landscape. When weather permits, I work on location in the woodland, absorbing and translating the essence of nature as I work and using textures from my 'muse' to incorporate into the final vessels.
Environmental considerations are embedded throughout my process. I prioritise low-impact, locally sourced materials, hand-process wild clays, up-cycle redundant glazes and fire mindfully. My Carbon Literacy Training (2024) further deepened my commitment to sustainable studio practices and climate-conscious decision-making.