My ceramics are best described as a freehand format mix of random and considered elements. I am obsessed by the ceramic process and the excitement of possibility that comes with using heat works, chemical formulas and clay to create surface and form. Throughout history/prehistory pottery has carried the potential for expressive visual surface on a multitude of form, the complexity of which delves beneath transcient fashion.

I love the permanence, brilliance and richness of surface that is uniquely associated with the special art/craft medium of Ceramic. I am also particularly interested in the fact that Potters continue to use traditional techniques as a vehicle of expression. I like to think that I am providing my marketplace with nifty little post-modern interpretations of domestic ornament for our little museums we call ‘home’.

Certain patterns of behaviour are intrinsic to my way of being, for instance, I compulsively crave order in an increasingly chaotic world, and this means that I am almost ritualistic in my preparation of physical and mental space. This space is on solitary terms, intense and non-compromising.

My work is multi fired and multi layered, using a combination of reactive / inactive porcelain slips, fritted slips, my own glaze formula’s and commercial low fire glazes and lustre's. The clay is cut, torn, layered, obscured and revealed semi-randomly in my own freehand format, manipulation and distortion to the fore. The ‘marks’ are not meant to be literal interpretation, and are perhaps best described as organic abstract in notion and intent. My surfaces are now more to do with colour, line and space, although still always underpinned by the emotive feeling ranging from utmost despair to joyous optimism, depending on my mood.

The preparation of form and surface is surprisingly complex considering that simplicity is the goal. Of late I have become immersed in the exploration of the sometimes alarming dichotomy between surface and form. Always prone to excess, I manipulate the form to suggest useage, i.e. 'jug', 'bowl' p'latter' adding more and more surface detail with each firing, a complex and forever challenging process that I am immersed in.