AbouT

As a child I wanted to be a Jockey or a vet so it was no surprise that animals became my subject. I was also fascinated by Pareidolia, which still influences my work today.

Embarking on a sculpture is always full of anticipation as I never know how it will turn out. By letting go of pre conceptions I can respond intuitively to how the clay wants to move. This is a very personal process, a conversation between myself and the material which embraces chance.

I use single sheets of clay, draped like a skin or fabric over a paper core. It is the essence of the animal I want to capture. A seemingly abstract shape can be far more evocative than a literal representation. Retaining the energy and identity of the clay is also an important aspect of my work. If the piece becomes overworked or contrived it goes in the clay bin and I start again. However, it is an addictive process and a successful work is a huge high.

I experiment with colour and pattern within the clay body, inspired by the geometric designs on Jockey silks and random markings found in an animal’s coat. When rolled out, the patterns distort and accentuate the form. I also use Raku and Smoke firings, which continue the theme of risk and unpredictability.

Long after they are fired works can continue to surprise me. Sometimes they look as though they could simply morph into a different form altogether, like ghosts or shadows. I also see them as found objects, as if I wasn’t responsible for making them at all.