Research
Much of my work begins with noticing. Something catches my attention — a material, a surface, a small encounter — and curiosity takes over. I tend to follow it and see where it leads.
Porcelain
I am drawn to porcelain for the way it feels in the hands — soft, delicate and plastic, yet refined and strong. There is something almost sensual in working with it, although I do not necessarily want that quality to be visible in the finished piece. I am interested in work that does not ask loudly to be seen, but holds a quiet presence and invites a closer look.
Clay & Local Materials
Materials often enter my studio simply because I encounter them. A stone in a river, a leaf, a piece of shell, a weathered surface — curiosity comes first. Sometimes something makes me stop and look a little longer.
Other impressions may return much later: a gesture or atmosphere. They can come from almost anywhere. Later, something of them may reappear as an image, feeling or form, and from there I begin to see what the material might become.
Glaze & Firing
Glaze and firing introduce an element of uncertainty. Surfaces shift, colours move and outcomes cannot be fully anticipated. I am interested in what appears through that transformation.
Process
Process may be the most important part of the work. I want traces of making, change and uncertainty to remain visible, leaving room for something unexpected to emerge.
