“I utilise past experiences from written journals, drawings and personal photographs from my travels to India and Japan which influence the natural, raw and earthy qualities in my work such as “Himalayan mountain shrine”. The narratives, histories and atmospheres of uninhabited dwellings inform the subtle ceramic colour of my stoneware sculptures, colours of the earth and what time has left intact. Historically the Industrial architecture and machinery of bygone Sugar factories fascinate me, “boiling houses” or ingenious, as they were called. Some factories date back to 1640. The experiences translate into the geometric, asymmetrical and raw nature of my uninhabited clay structures. Concepts of “home” and Narrative is central to my ambition. By exploring the vessel as metaphor, pushing boundaries and discovering technically challenging ways of making, I can aim to bring together languages that expresses a painterly approach with expressive use of colour, line and texture. Mono printing on clay with newspaper, drawing with oxides and transferring images brings spontaneity to the working process.”
My interest in Ceramics began age twelve at the co-educational boarding school in Hampshire I went to based on the teachings of Jiddu Krishnamurti 1895 – 1986, a philosopher, speaker and writer. There I learnt to draw, paint and work with clay in between my academic studies and playing the piano. Ceramics and painting are a thread and passion woven into my life from the early years. Past experiences from living in India and travelling to Japan have influenced the natural, earthy qualities in my clay sculptures, like my Himalayan mountain shrines. I grew up in London during the 1970`s; a time of psychedlia 1960-1975, Cult cinema, National Film Theatre, rock music at the Roundhouse, Pop Art ( Serpentine ), shopping (Biba ), and Kings cross with it`s decaying Victorian buildings and council properties, London’s essential atmosphere and collective essence.
The narrative for my work in clay begins with a process; drawings, photographs, childhood memories of what a home felt like and what my potential could be within these architectural spaces. The work titled "I am a House" references the appearance of a dwelling that has been emptied, the painter’s easel, presence and identity contained within the space of the walls, the front facade of the building taken away. I draw on imagery of exposed and sunlit interiors, rooms with peeling paint and drawings on clay echoing childhood drawings. When mixing my glazes I often spoon in the oxides and powders that I have learnt from experience will give me a richness that I am seeking. Constructing and assembling my sculptures I work intuitively, piecing together and creating clay collages with visual traces of boarded up windows. Drawing and monoprinting are an essential component in transferring meaning and metaphor in my sculpture.