Our experience of time and duration in relation to making is central to my practice. Working with clay teaches the value of patience, something which has become scarce and undervalued in our current society. Throwing on the potter’s wheel becomes a method of quiet introspection where tensions in my own subconscious manifest themselves in the finished vessels. This balance between imposing my own design on the clay and surrendering control to the vitality of materials is what characterises my work. Through the stilling of the clay as it slowly centres on the wheel-head, I enter into a different time zone where the material has control over my experience of duration. The place of refuge I find in this sphere of stillness and meditative zone is reflected in the soft curves of the forms and subtlety of glazes.
Rather than painting on patterns, I prefer to leave the surfaces of my pots at the mercy of the kiln. Flames from the reduction firing leave traces of the action and movement of the firing process in the forms of flushes of colour and fluidity of running glaze. As a result the vessel surfaces become as American writer Harold Rosenberg said of abstract expressionist canvases, not carriers of images but of events.