HOW OLD WERE YOU WHEN YOU FELT CLAY FOR THE FIRST TIME?

I remember going to pottery class when I was about 8 years old and making a coil bowl which looked like lots of little snail shells joined together. I do remember I absolutely loved it but for the most part, painting was my thing. Until a friend took me to a pottery class about 4 or 5 years ago and I was hooked, up until then I had always painted.

 

WERE THERE ANY MENTORS OR ARTISTS WHO INFLUENCED YOUR JOURNEY?

I would say inspired rather than influenced. I have met some beautiful ceramists from the very beginning of my journey, who were always encouraging and supportive.  These people have tremendous skill and understanding of ceramics. Their works are completely different to mine but their skill levels and attention to detail I find inspiring.

IF YOU COULD ONLY HAVE ONE PIECE OF YOUR WORK, WHICH WOULD YOU CHOOSE?

Oh, that’s tough because I really don’t get attached. I love the process of making pieces and then letting them go. My house is full of ceramics, I love having them around me but if I had to choose, at the moment I’m loving statement vessels of all shapes and sizes.

HOW DO YOU BEGIN YOUR CREATIVE PROCESS?

I do sketch ideas all the time, but for some reason this is more an outlet as I seldom make what I have sketched. I think the sketches plant the seed for the idea and then when I start working the clay it takes on its own form.

My creative process is very much in the moment. I can work way past midnight for weeks on end when I’m in the moment, and then BAM, without warning it’s gone

HOW DO YOU CHOOSE YOUR COLOUR PALETTE AND GLAZES FOR YOUR PIECES?

My colour palette for the most part centres around whites. I also love to work with all the neutrals. Anything that has references to nature and the earth. Tone and texture are really important. The way the piece feels is just as important to me as how it looks. It might sound weird but sometimes I just sit there holding a piece for ages 

I do however introduce colour occasionally, especially if I’m working on statement piece or hand painting platters or wall hangings. I feel like the colour is balanced out by the organic nature of my ceramics, so it still has and earthy natural feel

HOW LONG HAS IT TAKEN TO GET THE RIGHT GLAZE AND FINISHES?

Glazes are very much a science. They require patience, trial and error, weighing, measuring, recording results and specific firing temperatures. This just kills my creativity, so I literally wing it a lot of the time.  That said, I have over the years discovered a few combinations that I really love and will often repeat.

 WHAT IS THE MOST CHALLENGING PART OF WORKING WITH CERAMICS?

All of it! I find the whole process quite emotional. There is so much room for error every step of the way.  I never really know if a piece will survive and can never be too sure how it will look until the kiln door is opened after the final firing.

There is no guarantee that the pieces you spend weeks building will survive, again this is the lesson of nonattachment and patience that I’m drawn to.