My fascination with the metaphysical aspects of the domestic object began with my current home in Thirroul. This house had originally been a farmhouse and owned by the same family since 1880.  I moved into this dilapidated timber and tin house and all its contents, which comprised of an overwhelming layering of objects and interior modifications from the past 100 years; each object told a story, a record of human life from over a century. Initially it was the artefacts that belonged to this house and the responsive ceramic works that emerged that were to be the beginning of my interest in the domestic souvenir.     

This series evolved from working with the domestic hardware from this house, focusing on its accumulation of kitchen utensils and working on a smaller scale relative to the intimate relationship I had with the domestic objects. These works echoed the organic seemingly animate nature of this home. They came into being through the process of abstracting from specific inanimate domestic objects, often from more than one source, then fusing them together to produce an object with an identity or life of its own. I have attempted to make ceramic sculptures with a dreamlike or ethereal quality, with the visual fragility of paper or wax but with the resilience and permanence of fired clay. This ghostly reinterpretation of these domestic items returned to inform later works.