I delight in the relationships that spring and develop between objects as they stand together like elements of musical harmony. From the shadows that form between them to the implied movements across spaces, they dance. A search for simple, quiet, innovative forms to be held and used; the translucency of porcelain w ith light dancing on the sprung tension of a rim, the softly melting body inviting touch; even the frustration of failure – all motivate my work.
The procedures and intelligence of making hold my attention. When I first touched clay, I was instantly diverted from science and music into a world of making. I had no choice but to follow this path.
An exploration of technical invention with origins in both studio and industrial spheres has previously resulted in objects fired fully glazed inside each other, suspended in the kiln and freely able to move when completed. Handles are now fired separately, suspended, to be joined later. These high risk practices lead to objects that have a sense of impossibility and without the encumbrances of limitations defining them even while they are still an idea. Silver components extend formal possibilities and facilitate the strengthening of joints between sections. The silver material and new techniques has enlivened my understanding of the porcelain I thought I knew so well. Objects now emerge, to challenge and enable fresh rhythms, different energies and spatial interactions.