April 2003

In my recent work, an apparent simplicity conceals the laborious making process. Using thrown clay as a building material rather than a finishing point, the pots are initially formed on the wheel, then altered when wet. New bases are added at the leatherhard stage. I enjoy the contradictory nature of these pieces where the sprung tension of the throwing remains clear, but the origins of forms are uncertain. I have a particular interest in the making of functional objects and the work contains references to 18th and 19th century English Industrial pottery as well as to more contemporary and familiar, metal and plastic vessels.

A search for simplicity and quietness, an essential stillness, motivates my work. The making of functional pots, the exploration of objects to be held and used, alongside a search for new and innovative forms, provides a lifetime of challenge and excitement. A beautiful cup seems simple and yet is capable of holding and reflecting so much ceremony and personal connection. The finished object stands innocently - as if oblivious to the complexities of its history, of making and firing processes.

The translucency of porcelain, the light dancing on the sprung tension of a rim, the softly melting body inviting touch, even the frustration of failure - all this and more continue to invite me.

Technical note:

These forms are hand-thrown, and then gently bent into a new shape while still soft. The porcelain retains a memory of all changes, so movements must be confident and simple, their timing precise. Later, new had-rolled bases are added and the slow drying begins. A high temperature reduction firing brings a soft, luminous, translucent quality to the material.