pottery shaped by hand, finished by fire.
Simple, usable forms made in Bristol and reduction-fired in a gas kiln. Every piece carries the marks of how it was made, with variations in colour and surface shaped by the firing.
studio finds
One-offs, experiments, samples and seconds. The selection changes as pieces sell, so it is worth checking back.
the making process
When making a pot, I pay close attention to its shape, proportions and how it feels to use. But I'm not trying to create something that looks engineered. I like the marks of making to remain visible - the throwing lines, slight variations in form and evidence of something having been shaped by hand.
I'm also particularly interested in the relationship between glaze and firing. My glazes draw on Japanese ceramic traditions that have influenced British studio pottery for generations. I use a gas kiln and reduction firing to produce a varied palette of colours and surfaces.
Even pots with the same glaze can emerge from the kiln looking quite different. I enjoy the balance between making careful decisions and allowing the fire to have its own influence on the finished piece.