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Based in a former Thatchers Yard, next to Salhouse Broad, my rural location both informs my work and provides me some of with the raw materials that I need to give it a sense of place.
Using locally sourced thatch from work on local roofs provides me with a beautiful glaze.
Using silt taken from restoration of the Broads also provides me with a natural glaze, it being high in silica from the decomposition of natural materials.
When I fire my wood kiln I use recycled pine pallets sourced locally and other reclaimed products from nearby firms.
My pots are mostly hand thrown using a variety of stoneware clays, ranging from porcelain to a high iron fleck. A love of surface pattern, texture and a Japanese influence resonates through my work.
This comes not just from ceramics, but also from textiles, traditions, and respect both for nature and the handmade.
An active decision not to persue an M.A, but to undertake independant Post Grad training in Japan led to workshops in Mashiko with Hamada Tomo-o, Matsusaki Ken, Euan Craig, and Wali Hawes, amongst others. These then led to a summer long residency with I.W.C.A.T in Tokoname in 2009 and a first hand introduction to the pots of Shigaraki, Seto and Mino.
My connections with Japan have brought many learning and exhibiting opportunities and I am grateful to have had met some lifelong friends with a shared passion for clay and craft.
Most recently I am indebted to Euan Craig for the opportunity to share with him a piece of work in the first firing of Shoji Hamadas Noborigama in over 40yrs. The restoration project after the Great Earthquake of 2011 was sucessful and produced a beautiful firing.
Workshop open most days,
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NORFOLK & NORWICH
ART IN CLAY
FOR CLASSES & TUITION, SEE SHOP PAGE
My Sake bottle waiting
for it's firing in Hamada's Noborigama in Mashiko
Japan. Feb. 2015