In the past I have experimented with most types of clay and firings, from open-pit fired terracotta, to raku, from salt and soda glazing to 36-hour-long wood firings, but settled for a number of years on white stoneware fired in an electric kiln.
I always knew I wanted to learn to throw, and I am still learning, but I also sometimes hand build, using slabs and textures, and combine elements that are extruded. I have always enjoyed mixing my own glazes, also profiting from my knowledge of chemistry and geology from my previous working life.
My newest work is in porcelain, which is notoriously difficult to throw. After being fired first at 980ºC in order to chemically change the clay to porous ceramics, I glaze it and fire it once more to 1300ºC, which is the temperature that makes porcelain vitreous and water tight. I decorate it with subtle hints of colour, reminiscent of beautiful summers at the seaside in Italy, or accents of pure gold, which adds a third low temperature firing to the process. Because of the complexity of this process there is always an element of unpredictability which makes every successful pot precious to me. I am enjoying both the challenges that these materials present and the satisfactions they give me when I open the kiln. I aspire to create pots that are useful, simple and quietly beautiful, inspired by the Japanese tradition and the concept of Wabi Sabi. I hope you like them as much as I do.
I am a member of the Craft Potters Association and of Anglian Potters.