My work is a constant discussion on how things fit together and how they do not. In particular, I am interested in points of transition: the space where orange becomes red, the place where glaze meets bare clay, the end of a handle and the edge of the pot. In my process, I continually seek out and create opportunities for these moments to occur: leaving a seam visible in a hand-built cup, cutting a soft line in the rim of a bowl, or negotiating the space between white slip and bare clay. As a maker, I am interested in how these moments record my decisions and become physical signposts left for a future user. These traces of intent and action say: I was here, please bear witness.
In my current body of work, I use text elements taken from old family correspondence and ephemera to explore my family history and connect past and present. Letters are digitally scanned, enlarged, and then laser cut into newsprint. These newsprint text elements are subsequently used in my decorative process, acting both as a stamp and resist for colour and texture.
Handwriting is such a personal way of connecting, leaving your mark, and telling your story. Through this intimate process we connect our thoughts to the physical world. Using the labour of my hands, I unite these traces of my past with functional objects that celebrate the tangible joy of the every day.
The resulting pots ask to be noticed and examined. I want them to convey a sense of a life lived, and a life still to be lived; they are about making connections and wanting to make connections. A snapshot of the journey, each pot is a tether that connects me to me, and me to you: a memory bound in mud-made-stone for years to come.