Artist Statement
I describe myself as a ceramic artist and craft maker. I make both figurative sculpture and objects of current use which I build by hand out of stoneware clay and fire in an electric kiln to ^6 to ^8 (1220 - 1280C).
Technically, I am interested in slipware, sgraffito, carving, moulding, as a way to develop the surface of my work, but I depart from the traditional use of these methods. My sculpted forms often present as vessels, as in containers, ships, boxes, which enable me to express ideas and tell stories. I plan my work using written material, drawings and images and often include words in the decoration. After the initial concept is worked out, I try to reach out to the gut feeling and forget about theory, though theory is fundamental and rules are necessary so they can be broken thoughtfully.
I recognise that the building phase and slip decoration is much more important to me than the glazing, so my intention is always to simplify the glazing and firing parts of the process.
Most potters speak of engaging in a dialogue with the material. Clay is a naural material, part of the very earth we walk on, and it changes dramatically with manipulation and time. Ideally, it needs to be attended to with patience and calm. Holding a piece of clay in your hands and shaping it can be very meditative or it can be very combative and so it is not just the intention you have but also the attitude you have, the mood you are in, the weather, that shapes the result.
I believe there is an intimate relationship between my sculpture and my utilitarian ware. They are both an attempt to communicate with the viewer. They come from the same passion and respect. They tell stories or offer views on what surrounds me in the present as we ll as what inspired me to make and what I inherited from cultural influences.
Ultimately, however, it is the viewer who completes the piece; the viewer has the last word; You do not have to buy a piece of work to be part of it: your feelings of intimate relationship or aversion to a piece are just as important as the artist’s decisions and skills. You should feel free to share these feelings and opinions with me.
As far as I am concerned, there is a little crowd involved in making my work: The form; the clay’s response; the intervention of the fire; please feel free to join in. I always welcome your reactions to my work.
