My practice sits somewhere between decoration and damage. I’m interested in surface — in glaze as skin — and in how repetition, pattern and material memory carry more than they admit. The pots are pushed until the edge begins to dictate form; slips run, glazes pool, surfaces bruise. I’m less interested in perfection than in the moment control gives way to something slightly unstable.

Colour here is not neutral. The yellow operates like a marker — a field boundary, a warning stripe, a domestic fragment pulled forward. It frames and interrupts the more earthbound vessels, which lean towards ash, reduction, and the language of use.

Shown here are works leading up to where I am at. I work through making rather than explaining. Iteration and testing are the process of research and the discovery of manipulation.