PRACTICE
Material practice
My work moves between clay, natural colour and experimental material processes.
I am interested not only in what materials can become, but also in what they reveal through process — traces of fire, plants, minerals, time and hands.
CLAY
Clay
Clay is both material and record. I work with handbuilding, form, surface and ceramic sound, allowing traces of making and firing to remain visible in the finished piece.
I am especially drawn to processes where control is shared with the material — smoke, ash, flame, texture and atmosphere become part of the final work.
handbuilding · ceramic sound · surface · firing
FIRE & PROCESS
Fire changes the work
Pit firing, barrel firing and other alternative processes introduce uncertainty. Fire leaves marks that cannot be fully designed in advance — and that is part of the reason I return to it.
NATURAL COLOUR
Natural colour
Plants offer another way of working with material and colour. I use natural dyes, eco print and botanical colour, combining traditional processes with observation and experimentation.
Colour is never only the final result. Fibre, mordant, plant, water, temperature and season all influence what emerges.
natural dyes · eco print · fibres · botanical colour
PIGMENTS
Pigments
I explore plant, mineral and earth-based pigments as a bridge between colour, drawing and material research.
Samples, recipes and tests become a working archive: a way to understand not only the colour itself, but where it came from and how it behaves.
MATERIAL RESEARCH
Starting with the material
Much of the work begins with a question rather than an object.
Local clay, ash, plants, minerals and other found or cultivated materials are tested, documented and compared. One experiment often becomes the beginning of the next.
local clay
ashes & minerals
dye plants
pigment tests
material archives
CREATIVE PRACTICES
Creative practices
Alongside clay and natural colour, I work with drawing, Art Journal, botanical compositions and other nature-based approaches to making. Some become workshops; others remain studies, experiments or ways of observing materials.
drawing
applied arts
Art Journal
nature-based making
botanical compositions
CURRENT EXPLORATIONS
Local and field clay
The developing dye garden
Plant and earth pigments
Alternative ceramic firing
Ceramic sound and handmade instruments
PRACTICE IN MOTION
These strands often overlap. A plant may become colour or pigment; clay may move from vessel to instrument; an experiment may become a workshop, a reference or a digital tool.