b. 1978

Having spent a rural childhood rooting through sludge and silt from the rivers and beaches of Norfolk, perhaps it’s inevitable that I find myself drawn to the amorphous qualities of clay, and the elemental alchemy of ceramics.

Over years of exploration and experimentation, I have developed processes, clays and glazes which, when combined, strongly evoke Nature.

The work appears born from the geological, and biological forces of erosion, growth, effervescence, and decay: Volcanic pumice, organic sponge, rotting wood, termite mounds, corals, clouds, shells, and fossils are brought to mind.

Richly layered and textured glaze surfaces, on undulating, pocked forms reveal worlds-within-worlds, and reward close scrutiny.

The work seems, like coral, to be a simultaneous symbiosis of Animal, Mineral, and Vegetable: Indeed, it reminds of centuries-lost artefacts, lifted from sunken galleons, encrusted with life and eroded by time.

Current research sees me unpacking the delicate balance between Land and Water in my home county of Norfolk. Through harvesting cliff clay, beach flint, and marsh reed, along with local stories. The resultant work will serve as a record of Place.

In parallel, I have built my own tiny wood-firing kiln in which I plan to high-fire and salt-glaze small semi-functional ware.

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The rich deep reds of this small, roughly carved box, and the mossy green/yellow crystal growth in the natural fly-ash ‘glaze’ are so deeply reminiscent of the hues of the wet fallen wood which inspired it.
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Feels like it might need a wo

This mini-moon stands just 6.5cm tall, but seems to have captured all the magic and alchemy which the recent wood firing could offer. A perfect little kiln filler, she sat between larger pieces which happily funnelled the flame path directly to her.

Functional; not functional…
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Apparently I’m still being drawn back to the challenge of making a good, beautiful, functional thing.
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Three of the six mugs I put into the anagama in August survived the refire which they needed to soften

Slightly struggling to capture the surface of this piece.
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Totally uninspiring plate (from above), with an incredible underside. Definitely a candidate for re-firing, with an additional layer of shino to push back some of the iron into richer orange

Not certain where these faceted dishes came from really, but I think I’m exploring the relationship between the taper/angle of the sides, and the height/diameter of the form.
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I used a small wood-working ‘surform’ (a glorified chee

Small shino and carbon-trap moon, all blushing and warm from the recent wood-firing @oxforduniversitykilns
Ashing, along with iron from the body have converted the celadon liner glaze to a rich tenmoku.
Quite a forceful little piece at first glance,

Nice range of toasty flashing and nuka grey-cream-whites on this little woodfired moon.
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The high iron sticks of extruded clay which puncture her walls seem to reach out or somehow grow from within.
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Currently enjoying living with, and getting to k

Another little box from the Cleave series, hand carved using slivers of wood from the endless log splitting needed to fire her. She has sat a bit lonely, bisqued and expectant, on a shelf for over a year waiting to join the others. Finally bathed in

A trio of vases to join the three I fired last year @oxforduniversitykilns The subtle lavenders, peach-oranges, and blue-greys of these pieces showcase another side of what wood firing can bring to the work: somehow gentler and quieter than the heavi

Over recent years I have shown my work with Thrown, and with Cluster Crafts London. My work is also available at Highgate Contemporary in London, and Fire & Flux in Norwich, UK.

Please do get in touch if you are interested in showing my work.