In my current practice I celebrate the prehistoric method of hand building coiling. I find it fascinating that this process is rooted in the history of craft and ceramics so deeply and still plays such a crucial role in contemporary making.
The Neolithic pots made in the Jomon period in Japan were very sophisticated and complex. In my practice I try to achieve that sophistication, setting myself different exercises to explore form and how far I can stretch the process. Jomon literally means ‘cord marked’ and like in the Jomon culture, I choose to expose the coil revealing the process often hidden in most ceramic works.
I work intuitively and improvising. When I am making a piece of work, I know where I want to start and have a vague idea of how I may want it to look like. Frequently the work takes me on a material and narrative journey and as I progress I make decisions to shape the final form different to the one I had in mind. I let the form be, and I let serendipity happen in the search for a new structural complexity. I like to think that I am ‘taking a coil for a walk’, an expression I borrow from Paul Klee’s ‘taking a line for a walk’.
An important aspect of my work is the glaze, and how through it I give meaning to my otherworldly sculptures, representing growth and forms that are mutating and in a state of flux. Reflecting the changes the material has gone through in contemporary practice. I do a lot research and experiments with old glaze recipes, changing and adding components to make the glaze misbehave.