As an artist, I am endlessly captivated by the beauty of the ocean and the natural world that surrounds us. Through my work with fine porcelain, I strive to capture the essence of these awe-inspiring elements and translate them into sculptural decorative ceramics that evoke a sense of wonder and tranquillity.
In my creative process, I am driven by a deep reverence for the delicate balance of the natural world and a desire to capture its essence in tangible form. Through the subtle curves and intricate details of each piece, I aim to bring the quiet majesty of the ocean and its inhabitants to life.
My work is shaped by a deep appreciation for the techniques and traditions of fine porcelain production. Each piece is meticulously crafted through a delicate balance of skill and intuition, as I work to coax the porcelain into shapes and textures that reflect the natural beauty that inspired me.
Through the timeless medium of fine porcelain, I hope to share the beauty and grace of the natural world with others and to spark a deeper appreciation for the fragile ecosystem that sustains us all.
My work is a celebration of our amazing Western Australian coastline. After completing a diploma at Claremont Collage of Fine Arts where I majored in painting, I furthered my artistic education by completing a traineeship in Ceramics. Working from my home studio located in Gnarabup a small coastal town near Margaret River I produce functional but highly decorative ceramics and also paintings. My ceramics are hand thrown and decorated therefore no two pieces are exactly the same. I am constantly inspired by the intensity of colours, patterns and changing light within our amazing environment and endeavour to reflect this in my ceramics and paintings.
QUALIFICATIONS:
EXHIBITIONS INCLUDE:
· 2016 – Margaret River Open Studio’s
· 2016 – ‘Designs in Nature’ Exhibition Payet Gallery
· 2016 – ‘Soup for Soup Bowls’ charity exhibition Hale Grammar School
· 2016 –JahRoc Galleries, Margaret River, WA
· 2015 – 2016 Aspects of Kings Park Gallery
· 2014 – ‘30 x 30 Exhibition’, Margaret River Gallery, WA
· 2013 -2016 Margaret River Gallery -
· 1999 – 2001 Margaret River Pottery - Potter, glazer and painting ceramics
· 1998 – 2001 Dilkes Hoffman Studio
· 1992 - 1994: Exhibiting Artist at Boranup Gallery
· 1991 – 1995: Cowaramup Pottery
TECHNIQUE:
All my work is wheel thrown porcelain, using Lumina which is a high-quality porcelain with translucent qualities. Each piece is hand craved, altered and or painted. Mainly the works have 2 firings but some 3, the firing temperature goes up to 1300 degrees. This makes the surface totally vitrified when left unglazed.
I also use Mishima which is a technique used to decorate ceramics, which dates back to Koryo Period (935-1392 AD}. The technique reached stunning heights in the 12th and 13th century. With this technique of inlaying slip, under glaze, or even clay into a contrasting clay body, the main clay body of the pottery piece. This technique allows for extremely fine, intricate design work with hard, sharp edges that can be difficult to reliably replicate in any other way. In my practice I have researched this beautiful and ancient technique and developed a method of Mishima that works for me. Each of my works is hand thrown on a pottery wheel, and then paint with a slip the surface is then incised to reveal the clay body beneath. The grooves are then filled with a contrasting slip when dry the works are then bisque fired to 900c. Then clear glazed and fired again to 1100c to bring out the wonderful colours hidden in the slip. I use white earthenware clay the colours and pattern that I have develop are a reflection of my wonderful coastal environment.
Sea Urchins – My morning beach walks were there are always new treasures to be discovered inspires my Sea urchin series. They are made from earthenware clay and hand thrown on a pottery wheel the decoration is then applied. A slip glaze is used to cover the surface of the clay then the fine dots are painted with a paintbrush. The pots are left to dry then bisect fired then coloured glaze is applied to the inside of the pot and then fired again to 1100C.