My art involves an on-going exploration of landscapes of imagination and play. I am drawn to the idea of liminality, of spaces that are ‘other’ – simultaneously meditative and unsettling. I create forms in porcelain, glass and metal that play with scale, repetition and colour. My paintings, in gouache and acrylic on watercolour paper, investigate the interface between sculpture and the flat page. I am inspired by Isamu Noguchi’s notion of playgrounds as ‘primers of shapes and functions: simple, mysterious and evocative.”
My first career was as a historian, and my art continues to be inspired by a fascination with the material cultures of the past. I’m interested in the history of objects – the connection to past lives that they represent, the meanings they embody, and the feeling of inchoate longing that they provoke in me.
I work mainly in porcelain and bone china. The technical challenges and unpredictability of clay are also integral to its appeal for me; it constantly forces me into new ways of thinking and experimenting. I am a technique magpie, combining traditional processes such as slip-casting with more modern ones such as laser cutting. I also test the boundaries and bonds between materials, combining clay with metal, wood and glass.
In 2022 I was one of five artists featured in ‘Curve and Form’, an exhibition of sculptural ceramics at Pangolin London including Merete Rasmussen, Halima Cassel, Patricia Volk and Katharina Klug. In 2021, I was a ‘Fresh’ finalist for the British Ceramics Biennial in Stoke-on-Trent, a competition bringing ‘critical attention to artists from the UK and Ireland at a launch moment in their creative practice’. In 2019 I reached the finals of Handmade Britain’s ‘Identity’ competition, exhibiting in the Ashmolean Museum, Oxford. My work is held in a number of private collections.