Clay is like a language for me. I thrive in its timelessness. I use the ancient technique of coiling in combination with slab work and love the expressiveness of the inherent asymmetry as well as the endless possibilities it conveys. There is something unassuming about clay even though, once it has gone through the process of creation, firing and glazing, it might well be around for thousands of years. It remains inconspicuous. It is a humbling medium to work in. It fuels a great enthusiasm for me to strive to create pieces that are outstanding from an aesthetic as well as a functional point of view. It inspires me to find that ancient, enduring and intrinsic language that clay owns. I see myself as a vehicle from which myriads of little clay beings emerge. It is a subtle role for me as I allow my work the pompousness of eternity.

New forms & shapes emerge from what was originally a wet lump of earth. I am enthralled by ceramics and the fact that the four elements all play an active role in the process from clay to ceramic. Earth mixed with water to create, air to dry and fire to solidify and eternalize. It is so simple and yet so beautifully complex. The transformation that happens between the wet, creative stage and the completed, fired piece is compelling.

All my work is hand-built and either fully slab built or a combination of slab and coils. Before reaching the leather hard stage I draw freehand directly onto the pieces allowing the design to take shape as it accents and frames the form of the piece. Fascinated by the language and beauty of patterns and intrigued by details, I find great excitement in recreating the repetitive and stunning lines of nature’s patterns in my work.

After the bisque firing, I brush glaze into the design and leave the colour of the clay exposed. The inside of the piece is glazed and the piece is fired to cone 6 in oxidation.




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