I am fascinated in how the language of art can create a bridge between the past and present. How composition can come together to create an aesthetic distinctiveness. My interests lie with the interrelationship and engagement between the materiality and structure of objects, looking upon shape as an embodiment of process and material. It is interesting How simply insignificant objects can come together to create a juxtaposition, sparking new relationships between two or more constructions.

I am further absorbed by the reactive nature of process and how it creates a two-way conversation between artist and material. How the relationship of matter, texture and surface complement form and how the act of making through process creates meaning and significance.

I am currently exploring and creating art from my subconscious instinct, a raw urge to withdraw oneself from mind to physical rendition and rendition to form. My approach is empirical in nature and draws on my experiences and observations, this is where I create and respond to material intuitively. For myself objects have individual presence, yet when they exist collectively dialogue can become more complex which in turn extends narrative.

Opposed to a direct evocation to form and texture, my work could be described as ambiguous, almost fictitious in its contrived representation of geological landforms. Rooted in glaze experimentation and manipulation my work is ingrained in material sensibility and utopic romanticisms; perhaps delusions of the ‘perfect’ glazed specimen. The peculiarity, beauty, and elegance of the work or otherworldy objects lie in the viewer’s subjective elucidations and assumptions of what these objects may be or illustrate.

The process itself is a rigorous battle to achieve material textures that represent my immaterial and material memories. These memories conjure themselves as animated representations of volcanos and meteorites juxtaposed against sensuous experiences exploring my dads building sites, growing up near the woods and the objects that dominate both those spaces. As memory itself is a consistent recollection of past experiences, what we know of the past can never be true and thus like Chinese whispers, these material representations become distorted in their configuration.