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1

Wheel thrown teracotta. Approximately 1.2m high 80cm diameter

2

Wheel thrown stoneware, ongobes and glaze. Picasso theme. Approximately 15cm high.

3

Wheel thrown stoneware, ongobes and glaze, handle wheel thrown and altered. Approximately 20cm high.

4

Wheel thrown teracotta, ongobes and glaze. Inspired by Grace Cossington-Smith. Approximately 15cm high. Jugs not shown.

5

Hand built porcelain. Egg divides into three interlocking compartments, hand carved, celedon glaze. Approximately 20cm high.

6

Wheel thrown porcelain, painted with shelac and carved, lomogue glaze, woodfired. Approximately 20cm high 25cm diameter.

7

Wheel thrown porcelain, altered rim, painted with shelac and carved, celedon glaze. Approximately 16cm high (tall) 10cm (short).

8

Wheel thrown porcelaineous stoneware, altered rim, blue chun interior, vanadium glaze exterior. Approximately 18cm high.

9 "Spirit of the Woods"

Hand built vessel, treated with oxides, earthen ware glazes. Approximately 30cm high.

10

Wheel thrown and altered porcelaineous stoneware, aged celedon glaze. Approximately 18cm high.

11

Wheel thrown porcelaineous stoneware, altered rim, dolomite/feldspar glaze interior, vanadium glaze exterior. Approximately 18cm high 20cm diameter.

12

Press molded and hand built porcelaineous stoneware, dolomite/feldspar glaze interior, vanadium glaze exterior. Approximately 10cm high 20cm diameter.

If you wish to purchase any of these pieces please e-mail me and quote relevent work number.

The Bowl

The circle is such a basic form that even distortions of it are easily comprehended, it is conforting and satisfying. The bowl form can be open and spreading, shallow or more enclosed. Like arms, an open bowl is giving or as easily open to being given to. A more closed form holds within itself. It can be conforting or nurturing. A bowl is never empty and never full.

As you look at a bowl you can see both the inside and the outside and the way in which they relate to one another. The inside of a bowl is rarely hidden away but is part of your overall perception of the piece. Light and shadow, form and void, are created by all the edges and also the curve of the surfaces, not only the negative spaces that you have around a piece but also the top edges of the bowl being in relation to each other, the sides and also the inside surface.

I like to shape the inside wall of the bowl so that it is in harmony with the outside, a fluid overall surface that is good to run your hands over. In this way you can either have one continuous surface - harmony between inside and out, or you have the format to have a dramatic contrast between the surfaces or even just a tonal distinction. The rim of the bowl can either be made a framing device for what is held within it or it can relate the interoir to the exterior with alteration, addition, a carved design, or a glazed decoration, or even somethign as simple as throwing lines.

The importance of the work for me is as a piece of art rather than it having a utilitarian function, so that shape and glaze can be unrestricted, an integral part of the piece rather than being secondary to the piece. I find the simplicty of the form and its making the beauty of the piece.

I am currently researching selections of glazes, limestone, dolomite/feldspar and vanadium.