Soaring Gothic vaults, cathedral spires and church architecture influence my artistic journey. I yearn for a sense of spirituality in the things around me. My ceramic practice focuses on sculptural form and surface. Light has also become very important. Like the alchemists of old I use my passion for chemistry to invent my own glazes. I concentrate on developing glazes that are vibrant metallic and lustrous or deep variegated colours that use light to enhance form and surface.
It is the context of architecture and natural form, and the spiritualism of the Church echoed in the pillars and arches of its Cathedrals, that forms the core of my sculptural practice.
I am inspired by the potential of clay as there are no limits to scale - with brick I can work on a piece 12 foot tall; equally in extreme detail on small porcelain pieces.
Mathematical principles underpin the structural forms that I use to explore architectures, artistic resonance and potential. I find that the arch, one of the most important elements of my practice, has had an incredible personal resonance as it evokes both reverence and the idea of 'reaching up'. I make spires built entirely as a skeletal structure of arches with one arch perched upon the apex of another forming a vaulted spire. I seek site specific situations for these creations, enabling me to take my art out of the gallery into the context of the locale.
Medieval Cathedrals, the Art Nouveau period and Artists such as Gaudi and Robert Harrison inspire my practice at the large scale.
I use glazes to elevate clay and brick from their 'everyday' connotation into artwork through elaborate experimentation into colourful and lustrous surface qualities. Here, my deep love of Chemistry drives my fascination of creating unique glazes as if an alchemist in his laboratory turning lead into gold.. I draw inspiration from the flambé glazes seen throughout the Ming Dynasty in the Jingdezhen region of China and also the work of the Ruskin Pottery.