I choose to actively deviate from traditional processes of ceramic materials to experiment with new systems of building form. Traditional ceramics practice favours skill, control and the expected outcome over chance. When chance is involved as an element of the making process, interesting results can and do arise. By filling a vessel with glaze and porcelain, heat catalyses an interaction where glaze-flow navigates embedded porcelain forms. Post-firing, glaze which oozes, drips and creeps over smooth clay surfaces into reluctant cracks, holes and crevices is stopped in motion. This is revealed by the act of cutting the work, and evokes in the viewer feelings of embodiment and abjection. The resulting forms are evidence of (and reliant on) these unplanned chance-based transformations.
