In my work as an artist, I draw on wide-ranging interests; in botany, geology, anthropology and the history of art, as well as on my background in design. Against this conceptual framework, I sift through my internal landscape, seeking to understand myself and my place in the world through the materiality of ceramics. The sculptural forms which emerge combine wheel and hand-formed objects with everyday detritus such as discarded rubber bands, forgotten string and lost objects.
Calling things what they are is harder than it looks is a ceramic arrangement designed as an image, raising questions about what is seen from one elevation, and what can be discovered when viewed from multiple perspectives. I’m curious about the tingling in-between places, the negative space, waiting to be discovered. To me, there is both whimsy and gravitas in this examination of our relationship to our environment, objects and our psychological relationship to ourselves and the world. Despite its designed beginnings, the finished pieces are the result of process: conversations between artist and materials, between clay and glaze.
The objects in the arrangement are forged from a palette of earth, oxides and chemical elements to create something permanent, and yet easily fragmented. Future artefacts, in the present they call for philosophical inquiry.