My two greatest passions in life are my ceramics and the sea. I live near the beach in Brighton so it was inevitable that the two passions would one day collide. 

 I strive for exploration in my ceramics. I take inspiration from the form and character that I admire in marine forms and push this into the clay. I try to stretch the media to its limits so that I am making something that will intregue you as the viewer, that will make you want to touch it, and that will give you a real sence of the marine environment.

I'm fascinated by repitition and texture and in how nature continuously mirrors itself across all forms. This is most prominent in seed pods and propargation. I will never escape my fascination with repetition so i use it as often as i can. Joined with the intricacy you find all over the natural world my work takes on repitition in complex form.

Spiked forms make up the majority of my work. The structure, texture and character that you get, Every time different and every shape unique.

Because each piece takes so long to make and there are so many variables, temperature, water content in the clay and mainly my attention span. I can never make two pieces the same. Instead of fighting this i approach each piece as a fluid process letting the form develop as i work. Doing this prsents new avenues and possibilitys for my work to go in and keeps me enthrawled every time i pick up my clay.

 Im not afraid of putting in the hours in making these forms - some can take upwards of 20 hours to get right. Below is a four foot by two foot  wall mounted piece made up from hundreds of pinch pots. It presents to the viewer a deep texture and mystery as to what it might be. animal , vegetable or mineral it makes you question. For me it is a coral field, an artefact filled with potential and delicate wonder.

Recently i have begun combining texture within vessels. Below you see a very tactile bowl that evokes the feeling of capture and protection in the forms it will hold. (Picture of bowl in Raw state as i dry  each piece over a two week period to minimise warping and breakages.)

Below you can see a commercial application for the longer pronged  forms. These tea light holders look great as table flowers by day and come alive at night with dancing candle light beaming out between the prongs.

Light within my work is alway an application a the for front of my mind. here you can see forms made for outside in terrocotta that house lighting within. Perforations in the body of the form allow light to penetrate the dominant texture creating soft forms of shadow and light. the outside terrocotta forms can house electric or candle light.

The more delicate side of my work sees ornate brittle looking forms defy first impressions. Initially they look too delicate to touch and then you see that they are in fact self supporting, stood on a table strong and bold almost impossible to believe. I tripple twist the clay as i roll each spike which enhances the strength of the clay distributing the preassure more evenly to the core, allowing for such forms to be made and survive.

I enjoy making pronged porcelain forms as I had never seen anyone use porcelain in this way. Recently there have been a few attempts at similar forms but I hope that you can see the enjoyment I get from working each piece.

I believe that art should be accessible and affordable.  Making a range ensures that this is attainable, and also that I can participate in a diverse range of shows and exhibitions.

I also see myself as a 360 degree artist.  Its what I live and breathe so I apply my passions and work in many directions, small to large, self standing, mounted, functional and soley aesthetic.

Recently I have begun to create wall mountable crunckles, these are a reaction to exposed nails and screws left jutting from surfaces.  In much the same way coral would claim a rock outcrop encasing it in its ornate beauty, so do I with my porcelain.  This is an added dimension for the application of my work

Each piece is handmade in my studio taking anything from one to nineteen hours and has to be made all in one go.  Each prong is individually rolled then adhered to a pinch pot with slip and scoring.  This gives each piece a character and life of its own, making every piece a unique creation/organism.

SHORT PRONGED CRUNCKLES AND CRUNKLE LIGHTING.  Again looking at character and dominance in coral reefs, these pieces as lighting also look at the mystic and pulse of life within the reef. My short pronged porcelain pieces are an important part of my range.  Because I don't drive I find myself on the train travelling the length and breadth of the country with my work packed away in suitcases.  The short prong forms are easly packed and transport very well, because they are functional lighting pieces they are ideal for the more commercial exhibitions which occur more frequently. No short pronged crunckle is the same as another, each is made in one sitting with hand rolled prongs adhered over a pinch pot with slip and scoring. Many of these forms are then perforated to allow application as lighting, this is done while they are leather hard perforating between each prong with a very delicate hand. After bisque, each form is fired to 1260 degrees, vitrifying the clay body and making them semi-transluscent.

For the N.A.M.E 2006 Exhibition, and in response to previous shows, I created a number of around 35 hand held pieces that did not have the perforations within the form. instead they took the function of vessels.  Looking great as stand-alone pieces or as a collective of organisms they have a great character and have been glazed with a subtle beauty that does not detract from the textural detail. This was a sell out show for me.

They are playful, curious, tactile pieces, bringing aesthetic and conversation to any living space. With their light blue celadon wash they echo stories of the deep while sitting harmoniously in a space. I make these pieces in reaction to the beauty and wonder of the reefs I have been lucky enough to dive on.  Recognising that not everyone will have this experience, and in respect for their conservation, these pieces become 3D snapshots of the worlds beauty taken in thought from the reef and created by me in 3D that you can experience everyday in your home

The Crunckles start at under £10 for one of up to 60mm diameter, growing right through the price range to £360 and beyond.  With larger commissions welcomed I will work as big as the facilities I can use will allow. Always prepared for a challenge and to give very competitive prices, believing that art should be accessible. I don't make all these works for me to keep, although I wouldn't mind so much.   So have a look and give one a home today.  Alternatively email me with the price range you have in mind and I will make you one to order.