Works allude to the flesh, the tactile fragility of clay and the sensuality of fresh paint. I was working with clay in a way that utilizes its direct qualities. The technique of ‘pinching’ and the direct application by brush of engobes, underglazes and glazes was for me way of exploring the nexus between tradition and innovation.

I was attempting to push the material (porcelain) to new technical and aesthetic limits, breaking down the barriers between surface and structure. It was the purity and fineness of the body and its fired strength that allowed me to build vessels where the texture of the surface appears to become a part of the colour field rather than a part of the clay structure.