In my work I am interested in the notion of thresholds, trying to capture in a sculptural object a fleeting moment in transition; a tipping point of no return.
I want to achieve this feeling of motion in a static form as I am interested in the emotional response this engenders. Clay seems to me to be particularly suited to exploring this idea as it has its own transitional quality - it can be fluid or rigid depending on its state. I want to capture some of this dichotomy in my work because I believe that we understand the metamorphosis of clay into fired ceramics as a metaphor for our own human transitions; our fragility and our resilience. This for me is why ceramics is a material that, despite or perhaps because of its long history, still has such contemporary resonance.
Recently I have exploited the pyro-plasticity of porcelain - where at high temperature the clay body sags, warps or bends under its own weight in the kiln. As a result the firing process becomes a collaborative partner in the making; while I build physical supports around the pieces in the kiln to control the amount that they can collapse there is still a large degree of chance at play and no two pieces could ever be the same. Each piece can be viewed in any orientation and they have no set base.
To accentuate this sense of a threshold I have body-stained the porcelain (meaning that the colour is integral to the clay and is not on the surface) and gradated the colours. I intend the final pieces have the quality of shifting pixels or light moving on the surface of water.
CV & Education
Qualifications and training
2013 - MA Ceramics and Glass (Excellent Pass - distinction equivalent), Royal College of Art, London
2011 - Diploma in Ceramics (Distinction), The City Lit Institute, London
2000 - BA (Hons) Anthropology (First Class), Durham University
Competitions, prizes and awards
2012 - Behrens Trust Award, Royal College of Art
2012 - Waddesdon Manor Prize