My ceramic practice is a personal quest to find meaning in a secular world that often feels stripped of ritual, reverence, and deep connection. I am drawn to the quiet language of objects—those that resonate beyond their physical form, speaking to a symbolic or even sacramental dimension of human experience.

Rooted in an exploration of my own cultural heritage, my work draws upon inherited myth, memory, and the interweaving of ritual and beauty. I create within the limits of what I know intuitively—knowledge that comes not from the conscious mind, but from the heart. In this space, the unconscious often forms a vision, and my task is to give it shape and presence through clay.

Initially inspired by the simple, honest beauty of Korean Buncheong ware and Japanese tea bowls, I was moved by how reverence can be embedded in form—how a cup, through its aura, can become a bridge between the material and the divine. This led me back to my own cultural lineage and the desire to honour the Western tradition in similar ways. I am fascinated by humanity's impulse to imbue objects with meaning—to make art a sacred activity.

For me, everyday forms are like stones on a beach—symbolic in their quiet individuality, chosen, held, and revered. They speak to the infinite variety of our world and the human need to connect across time and space. My work is a reflection on the tension between the created and uncreated, the seen and the unseen, the temporal and the eternal.

I reject the banality and disposability of the modern world. In its place, I seek to make objects that honour memory, beauty, and the sacred. Objects that serve as gateways—connecting the earth to the divine, the past to the present, the personal to the collective. Art, for me, is a way of seeing the world with a childlike wonder and reverence for what has been and what might yet be.

My work explores subtle variations of form, pattern and colour. I take inspiration from a wide variety of sources: art and craft from the past to present, nature’s constantly shifting displays, a thought, a texture, a desire.

While I keep within the bounds of functional pottery, my use of the materials is constantly evolving as I regularly reimagine and rework my designs. I have a strong inclination to continually experiment, relishing opportunities to explore new avenues of expression through clay and challenge myself to push into new territory.

Most pieces are unique due to spontaneity in the making and chance events in the kiln. Consequently some pieces are unrepeatable. But it is this unknowing alchemy and freedom that drives the work in new directions.

The pieces are wheel thrown and larger forms are joined together. To some a coloured slip is applied and patterns carved into the surface to reveal the clay beneath; a process called 'sgraffito'. With others a mixture of slips and glazes are used to achieve depth of texture and colour.

Various types of clay are used which give diverse qualities to the finished pieces from smooth and precise to rough and weathered, like worn stone.

The work is twice-fired in an electric kiln.

I live in Norfolk, UK with my family.