Within my work, I aim to explore ideas of beauty, balance and simplicity by embracing the individuality and imperfection of form. This is expressed through spontaneous, irregular pieces which aim to capture something of the life and vigour of thrown clay, and the beauty of unplanned moments which emerge during this process.

The cycle of ceramic production is fascinating to me, and each stage encourages the maker to engage with the process as it happens, from wedging reclaimed clay to the final firing. Myriad decisions are made along the way to creating this useable, practical, desirable object which has a type of permanence, and there is an incumbent responsibility to produce something of value, and avoid waste.

We are increasingly aware of the environmental and financial implications of creating things, and this narrative of consumption and waste underscores many aspects of my making process. I am increasingly aware of the value of materials I use, from the mined minerals which comprise my clay and glaze, to the energy used every time the kiln is fired. For my Masters Project, I have presented pieces which represent different states of ‘finality’; some pieces have been glazed in cobalt and celadon and reduction fired, while others remain bisque fired or unfired to explore ideas of permanence and transience in production.