Through my work this year I have explored how materiality influences, and even partially dictates, what is possible, and what can be achieved through a greater understanding of a material’s unique properties. This is especially relevant regarding my work in raku clay and porcelain, where the plasticity of the clay enables a remarkable difference in surface texture to be made. I have explored different ways in which a surface can be decorated and experienced through the use of transfers and freehand illustration with oxides. I am interested in further investigating the perceived difference between the inside and the outside of a bowl through tactile decoration, something I have begun to try through naked raku pots. I have always been aware of the way in which haptic feedback creates a visceral reaction that visual stimuli simply cannot.
For me, working with clay has forever been a multi-sensorial experience, and I want to be able to share this view with others.
I’ve had two projects going concurrently this year; I think it’s ok to do this. I think it allows exploration between things which initially seem unrelated. But of course they’re related: the ceramist is the same person. That is the keystone. I wanted to work with both animal forms and with pure vessel forms. I like throwing best, out of the options of coiling, or slab building, or casting. It is very satisfying for an object to grow out of your hands, from what is essentially a lump of earth, into physicality. The process of making is important to the object, and thus to me.
In the end, the two projects have merged. I’m interested in touch, texture, surface, and form. These all come together in my work.