My style, now as always, is loosely based upon my interpretation of the corruption of the human soul, the last seventeen years spent experimenting with clay, heat and chemicals, within which I chronicle the tragedy of disquietened human life. My figurative work exploits the expressiveness of plastic material backed heavily by cerebral concept and narrative context. The forms evolve spontaneously, troubled hybrid creatures that reference the grotesque and the endearing in us all. The distortion is accidental yet purposeful, each stage of making and decorating informed by what has gone before. My ceramic ornaments are tacky but affectionate and made purposely to fit low brow popular culture. whilst questioning the hierarchally orthodox art versus craft rules of play. I choose to detail with hobby craft glaze, colours banal, application casual, almost errors, spontaneous and expressive - a response to the mass production of commodities, also representing the failure to control. The feeling of frivolity and lightness is superficial, the body language being that of despair. They could be seen as sloppy and vulgar, I see them as a portrayal of life in this time, little weapons used against the traditional ‘objet d'art’ - A story of human life lived in this dark age of ours. I tend to work with the ritual and mundane, exploring concepts of female identity, sexuality, the family, the domestic, my aim being not to shock, just to sift through in an attempt to make sense of what has been, what is to come. Each of my figures tells a story, often autobiographical, I suppose they are little perversions to match the wallpaper and I think that they are best viewed in small ‘dysfunctional’ family groups interspersed with outcasts that are too awkward even to belong to the throng of misfits.