My practice is grounded in ecological sensitivity, quiet observation, intuition and remembering. Clay is my conduit, nature my provocation, and the natural elements catalysts for creation. Instead of replicating nature, I’m interested in giving material form to something of nature’s presence, behaviour and unseen intelligence /

My work begins with close observation of living systems: the way trees reach towards light, roots search for water and nourishment, and fungal networks extend through soil to establish connection. Increasingly, I’m curious about the invisible forces underpinning these actions — the inherent drive to grow, seek, adapt and connect — and how this sense of intention might be transposed into clay and ceramic form /

I act as a translator in the making process, allowing visceral responses to trees and landscape to move through me; falling out, into the clay. Sometimes working directly on location, held by earth while working with earth, I gather emotive impressions that later unravel intuitively into form. These are not literal representations, but material echoes of encounters, relationships and remembered sensations /

Within my studio, wild-foraged clays, commercial clays, porcelain and organic materials are brought into intimate alliance. Thrown forms are disrupted and re-formed; surfaces accumulate through layering, sgraffito, texture and traces suggestive of bark, weathering and decay. Delicate porcelain structures emerge from vessels emulating searching roots, branches or fungal hyphae; reaching beyond the containment of the central form, indicative of their intention, growing into surrounding space /

The firing process has become increasingly integral to this enquiry. Rather than seeking complete control, I allow heat, gravity and material transformation to become active collaborators. Porcelain may soften, slump, distort or move within the kiln, its final position determined partly by forces that cannot be seen or entirely predicted. These alchemical transformations become a material parallel to the invisible energies that orient growth in the living world /

Through this interplay between intention and surrender, control and emergence, my vessels occupy a threshold between visible and invisible worlds. They explore the tree not as an isolated organism, but as part of an interconnected system of exchange, communication and mutual support, while reflecting more broadly on growth as an ongoing act of seeking — towards light, nourishment, relationship and connection /

Environmental considerations remain embedded throughout my practice. I prioritise locally sourced and hand-processed wild clays, reclaimed materials and redundant glazes, with my Carbon Literacy Training further informing a climate-conscious approach to making. Working slowly and responsively with raw materials allows the work itself to become an expression of relationship: between maker and matter, human and landscape, visible form and the unseen forces from which it emerges /