It’s my experience that objects have a life of their own, and this sense of quiet presence is something I try to capture in my work. I’m drawn to function and the everyday — familiar domestic forms that we live with, often without noticing — and how subtle shifts in form or colour can change the way we relate to them.
I’m interested in how function can be a quiet language — revealed through weight, balance, and the way an object meets the hand. Colour and form are developed together in my work, each shaping the presence of the object.
Process is central to my practice. I begin by turning forms in plaster on a wheel, which are then used to create moulds and cast using coloured clay or porcelain slip. Working with plaster was the starting point of my relationship with clay and remains fundamental to how I think about form. I use industrial methods on a deliberately small scale, drawn to the balance between repeatable processes and the variation that comes from making by hand.
Originally from London, I grew up in a creatively rich household surrounded by music, art, and books. Before working with ceramics full-time, I spent many years doing creative work across music and design. My time working in music gave me a strong sense of process and organisation, while prop styling more directly influenced how I think about objects in space.
Alongside ongoing personal work and commissions, I’m increasingly exploring installation-based projects. This direction allows me to work at different scales and in new contexts, extending my interest in function and presence beyond the individual object.
