I am a freelance artist educator, a flexible role allowing availability for exhibitions, projects and residencies. My work has been exhibited around the UK, in Europe & the US and is held in a number of public and private collections
I studied ceramics at both Degree & Masters level at Bath Spa University, and hold a Professional Graduate Certificate in Education. With diverse experience of designing and delivering courses I regularly lecture, give careers advice and demonstrations.
Portrait photo credit: Jeni Meade
2020 Masterclass feature & accompanying film with Ceramic Review issue 305
2020 Awarded Arts Council England Emergency Response funding for project "Home Residency"
2019 Awarded A-N mentoring bursary
2019 Commissioned by ITV Creates to make sculpture for ident broadcast November 2019
2018 Awarded Arts Council England funding for joint project GrowFlowShow
2018 Awarded "Frames of Reference" bursary in conjunction with Ginkgo Projects & Bloor Homes
2018 Winner of Royal British Society of Sculptors J Sheekey Atlantic Bar exhibition opportunity
2017 Etude ix acquired for the Bath Spa University School of Art & Design art collection
2016 Shortlisted for Carter Preston Prize, Bluecoat Display, Liverpool; winner People's Favourite
2015 Demonstrator at International Ceramics Festival, Aberystwyth
2015 Synchronous i purchased for Aberystwyth University Ceramics Collection
2014 Shortlisted for the Young Masters Maylis Grand Ceramics Prize
2014 Elected Member of the Royal British Society of Sculptors
2012 Graduated with distinction from Masters Degree in Ceramics at Bath Spa University
My practice examines the relationship between artistry and architecture; details are re-interpreted acknowledging structure, light, form, surface and line. I combine techniques (hand building, extrusion, potter’s wheel) to create unique pieces by moving traditional ceramic skills away from the functional. References to Baroque, Rococo or Corinthian columns are evident yet the response is contemporary.
Disruption of traditional techniques extends to colour; work is fired once, unglazed, in order for the clay to communicate the marks, textures and surface without hindrance. Colouring the clay began in reference to Wedgwood; now taken further to encompass the full spectrum it is central to recent works. Composition of form is made instinctively during the build phase, a combination of technical skill, expression and drawing in three dimensions. Finished works can be free standing, wall hung or group assembly.