1. Tell us about your practice and what led you down your chosen path as a maker.
From an early age, I felt the need to make things, not only for the end result but for the immersion in the process. After graduating with a degree from Edinburgh College of Art in jewellery and silversmithing, it wasn’t until I discovered clay 15 years ago that I felt I had found my medium. The possibilities that clay presents are almost limitless, and its tactile qualities mean the making process is almost meditative. I’m also fascinated by its transformation in the kiln, changing from raw mud to a material capable of enduring for centuries while preserving the unique touch of its creator’s fingerprints.
2. Tell us about your materials.
I work in a smooth white stoneware clay body which gives me a perfect canvas for decoration. I mainly throw my work, and once partially dry it’s coated in a layer of the same clay with an added stain colourant. I decorate the piece by scratching through the layer of coloured clay to reveal the white body below, a technique called sgraffito. The smooth body of the clay and the correct timing are crucial for the level of detail and the clean lines that can be obtained with this process.
3. Can you share more about the process behind your Collect 2024 collection?
For Collect, I wanted to increase the scale of my work to produce a collection of five columns. To achieve the height of the columns and the sculpted profile I was aiming for, I had to throw them in several sections that were then joined together. I wanted to create intricate geometric patterned areas dissected by coloured bands of shiny glaze. Usually, I dip pieces in coloured slip before decorating, but the increase in scale meant this was impossible so I had to master the use of a spray gun and compressor.
4. What inspired your collection for Collect 2024?
Inspiration for these pieces is derived from my love of modernist architecture and the concept of piloti: the reinforced concrete stilts used to support the structure of a building. The sgraffito areas reference mid-century murals and architectural detailing which often contrasted with the clean lines of the buildings. These architectural references serve as a key inspiration for my collection, honouring the humble yet significant role that piloti play in modernism alongside the more decorative aspects of mid-century pattern. This concept also reflects the increasing importance of piloti in the face of rising water levels, making them a relevant and thought-provoking subject matter.
5. Tell us about your approach to sustainable making in this work.
Before firing, clay can be recycled almost indefinitely. During the making process I reclaim every scrap of clay left over from throwing and trimming. This clay is then rehydrated and used to make the coloured clay slip that I use to coat the pieces before decorating.
6. What do you hope the viewer will take away from this work?
In this collection of work, I have combined clean and simple forms with intricate geometric patterns, resulting in pottery that is visually engaging and thoughtfully crafted. Standing almost like trees in a forest, I hope the pieces will evoke a sense of quiet contemplation while inviting viewers to appreciate the precision and complexity of the designs.
