These bowls and beakers are wheel thrown in different combinations of dark and light stoneware. I play with a palette of dolomite and transparent glazes. Each piece undergoes a further firing to be lightly gilded with gold lustre. All glazes are food safe.
I come to ceramics from a background in painting, so that the body and form of clay is another surface for making marks and cultivating textures. Unlike a painting, a pot has no front or back, but one can reach inside it, respond to the human impulse to touch and handle it.
Each piece has its own history. A glint of gold lustre can break up the clay’s earthy character while honouring the quirks in its skin and contours. Each piece responds slightly differently to the rhythms of the wheel and the dynamic between body and glaze. All the while, the trace of the maker’s hand is present, and (hopefully) felt in the fingertips of anyone who handles them.
Artists as varied as Rembrandt and Twombly continue to inform me in illuminating and animating the surface, while the work of my teacher Akiko Hirai has impressed on me the beauty of functionality, and of the relationship of a given piece to the long history of these forms.