ABOUT THE WORK
Generally I prefer to use modest glazes that show off the texture and natural properties of the clay. My real joy comes from making things the way I like them, when I can't already find the perfect version out in the world.
I use both my noisy, secondhand potters wheel and handbuilding techniques (mainly slab building and pinching), depending on the design. I'm constantly searching for new, more efficient methods and striving for clean, simple shapes that can handle being used every day. I am particularly inspired by the humble elegance of Japanese ceramics.
Nearly all of my glazes are made from scratch, by hand. The more involved ones containing found materials require sieving, drying, grinding, weighing, washing and storing.
Native clay, foraged with traditional owner's permission from a construction site on Bunurong land is incorporated into some works- this clay was dug by hand and required lots of testing and processing to become usable.
The ceramics process is slow, taking several weeks for just one item to be made, trimmed, fired, glazed and fired again (with countless other steps in between). Great care and attention must be given to each piece, as there are a thousand things that can go wrong. I hope this intentionality comes through the pots when they are in their final form and in their forever homes.
The styles and finishes are constantly developing as I learn more from the materials and how to best honour them.
My work has kindly been described by customers as harmonious, considered, grounded, organic and joyful.