The first demonstration of throwing pots I saw was in University. I fell in love with the process then and felt compelled to learn how to master it. It’s been a lifelong challenge to keep refining and improving my skills, much like trying to master a musical instrument with its tactile immediacy and its rhythm and harmony. I do incorporate some handbuilding, but always in tandem with thrown pieces.

I fire in reduction to a high cone 11 in a 100 cubic foot gas kiln. There are a wide range of possibilities with every glaze, but the depth of colour and variation is as close to replicating colours in nature as possible. One of the reasons why I’m drawn to porcelain is it allows both the true colours of the glazes and light itself to shine through.