I much admire Korean, Japanese and Chinese carved vessels, often in Celadon glazes, as well as more recent work by ceramicists such as Tim Gee and the surface decoration of pots by Elizabeth Fritsch. The drip paintings of Jackson Pollock also intrigue me.
I particularly like the whiteness of porcelain for thrown and for slip cast vessels, as it shows off most glazes to great effect; I have recently been using it to throw bowls over a hump mould and to slip casting tall vessels. However I find some forms such as platters are best thrown in stoneware because of its strength. I am still experimenting with different altering techniques such as piercing and eroding with water and sand blasting to give a better texture or surface design.
Many of my designs involve abstract wavy lines which are reminiscent of mountains or waves on a beach. Others relate to flora such as ginkgo and maple leaves; I have always enjoyed drawing plants. Recently I have started using geometric forms embroidered onto my slip cast vessels.
I am interested in the optical ambiguity created when geometric shapes wrap around curved surfaces. Similarly with the porcelain bowls, I enjoy the dialogue between the curved form, the lines of the glaze left by dipping and the resulting overlaps.
I endorse the hedonistic principle that people should surround themselves with life enhancing objects and to this end I aim to make striking vessels, which people will long to own and use to embellish their homes. The semi-permanent nature of ceramic vessels and the ancient derivation of the art form is an added attraction.
Throwing on the potter’s wheel is very satisfying, almost addictive. The altering processes take time and patience but are very calming. I get a great feeling of elation when a successful firing emerges from the kiln, particularly if a new glaze has serendipitously exceeded my expectations.