b. 1978

Having spent a rural childhood rooting through sludge and silt from the rivers and beaches of Norfolk, perhaps it’s inevitable that I find myself drawn to the amorphous qualities of clay, and the elemental alchemy of ceramics.

Over years of exploration and experimentation, I have developed processes, clays and glazes which, when combined, strongly evoke Nature.

The work appears born from the geological, and biological forces of erosion, growth, effervescence, and decay: Volcanic pumice, organic sponge, rotting wood, termite mounds, corals, clouds, shells, and fossils are brought to mind.

Richly layered and textured glaze surfaces, on undulating, pocked forms reveal worlds-within-worlds, and reward close scrutiny.

The work seems, like coral, to be a simultaneous symbiosis of Animal, Mineral, and Vegetable: Indeed, it reminds of centuries-lost artefacts, lifted from sunken galleons, encrusted with life and eroded by time.

Current research sees me unpacking the delicate balance between Land and Water in my home county of Norfolk. Through harvesting cliff clay, beach flint, and marsh reed, along with local stories. The resultant work will serve as a record of Place.

In parallel, I have built my own tiny wood-firing kiln in which I plan to high-fire and salt-glaze small semi-functional ware.

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Not certain what this form is; a beaker? a vase? But the surfaces tell a dozen different stories, and they are as close in size and shape as I think I’ve thrown any two things for a very long time!
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Currently they sit, as a pair, on a shelf wh

A few posts back I spoke of how strange this piece felt to make after so long.
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Here she is, blushing with soft peach pinks, showing the flame path over her surface and the shadows of other bodies close by.
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I’m reminded of the Doppler-like R

These are by far the simplest things I put in the anagama @oxforduniversitykilns and, in many ways, they were the most successful.
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An all purpose buff stoneware clay, lightened a little by blending it with ST material, grogged a little with the tin

This little series of boxes is going to be called ‘Cleave’.
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Of course this relates to the splitting of wood which gave rise to my fascination with those little shards of wood which I would later use to carve the their textures.
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It als

That tiny blob of ‘mino’ shino glaze on the peak of this box might suggest the first autumn snow, or maybe fungus blooming from the mycorrhizal network at large in the wood.
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The fly-ash carried from the firebox over the 54hrs of stoking

Good to see another one of these pieces, which have been in a two year bisque stasis, come to fruition.
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This was the first little box I cut (flick through the photos to see it in the greenware state and the tools I used to cut it).
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I was barefoot

Two of the ten hand carved boxes which made it into the 47th firing @oxforduniversitykilns in Wytham Woods.
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So grateful to the amazing group of makers in the firing crew, for their gracious graft during these last two week. It’s been humbling

Not entirely sure what I had imagined sitting on these long open trays: something soft and brightly coloured, I suppose, like those impeccable, delicate Japanese sweets, to counter their crusty raw earthiness.
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Four of these trays sat stacked and wa

Two years ago, and just two weeks before I contracted covid-19 (later to escalate into long covid chronic fatigue), I hopefully made this little porcelain bottle.
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Intended for my own tiny experimental wood kiln (which I never did fire), she sat bis

Over recent years I have shown my work with Thrown, and with Cluster Crafts London. My work is also available at Highgate Contemporary in London, and Fire & Flux in Norwich, UK.

Please do get in touch if you are interested in showing my work.