Techniques

Clay transforms in the kiln: an irreversible process from mud to sharp edges, vibrant colour and translucency. I am drawn to develop this transforming quality in the work itself; making pieces that alter in pattern or give an allusion of movement and depth by using clay’s potential for creating surface texture and building sculptural dimension.

The work is generally made with slip (clay with a lot of added water to create a thick, creamy liquid) poured onto plaster bats to create workable sheets for cutting and tearing.  Slip oozes into every crevice, holding every mark it reaches. With added fibres, the clay is stronger to handle in the building stage. For its magical play with light, I fire porcelain to around 1280c.

I like to be able to see the joins, finger prints, cracks and minute blemishes in the finished work and so am reluctant to cover the clay surface over with glaze: I tend to use glazes as glue or to highlight texture.  The wall work is mounted onto board or stitched to linen over board and generally framed behind non-refective glass for protection.