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Clay and glaze experimentation is what intrigues me. I invest a large amount of time towards these developments, and as other potters can attest – it is a life of trial and error, with many disappointments. It is the wide-eyed child in me that gets so excited to see what can happen when I mix one thing with another, and when that magical union between science and art occurs, I am compelled to keep inventing and experimenting.

I dig local porcelain, stoneware and earthenware, and I intentionally work with existing impurities such as rocks, twigs and other matter. These impurities contribute to my unpredictable clay surfaces and add to the unique surface treatment that I am attracted to.

I purchase certain ingredients and clays that are not indigenous to this area, or too difficult to extract, and over time I have acquired local granite, slate, calcium, quartz, limestone, potash, salts and wood ash to create unrefined glazes. My work is fired at different temperatures, in different atmospheres, and I use different types of fuels. These variations give the clay a surface that is cohesive with natural substances, and lends an essence of age and history to the forms.