I have always been drawn to Japanese ceramics in particular tea ceremony vessels. Their simplicity of form combined with simple shino and ash glazes are my present focus and theme of work. In the autumn of 2013 I undertook a long awaited trip to Japan. I stayed in Mashiko for the annual pottery festival which gathers four hundred local potters to exhibit and sell their work. This total immersion in Japanese pottery culture was a profound moment in my career. With this in mind I am presently exploring gas/wood firing with simple shino glazes on uncomplicated direct forms so that my aesthetic approach to working with clay feels natural and unforced. I am passionate about allowing the nature of the clay to develop honest pots with what I like to call beautiful imperfections.
In 2007 my studio started as two sheds but, as demand for my pots increased, I couldn’t reliably produce the volume of pots needed so I made the decision to construct a purpose built timber framed studio attached to my house. I did the work myself over the autumn and winter of 2014.
I now access my studio straight from my living room, meaning the various stages of production have changed from a halting, disconnected choice between being in my home or studio to production now being an extension of my life. This means my efficiency has increased, my creative process has become more fluid and the quality of my pots has increased exponentially.