I choose to walk the very fine line between perceived good and bad taste, influenced by my own memories of nuclear dysfunctional family life in 50’s and 60’s London suburbs.
One of my selling points is the fact that I am becoming increasingly difficult to box and categorise, which actually allows me a freedom of expression that is rare within the narrow confines of the craft arena.
My range includes assembled tile panels, concept vessel forms and figurative postmodern sculpture.
Examples of previous peices of work, general repository for images and pdf files relating to any projects apart from the current.
I like to think that I am providing my marketplace with nifty little post-modern ceramic 'ornament' for the 21st century home, made specifically to enhance, affect, endure and sometimes use.
I like to jar the eye with saturated bright and gaudy mismatched overflows of sythetic looking colour, acid opaques contrasted to the most delicate of 'Boudoir' pastels, self consciously gestural and wishing to be free, but more often than not, structured and confined by thin, scratchy lines. I tend to habitually categorise my work into themed batches, using title constructs that give clues as to what lies beneath the surface.
I work in increasingly experiencial and experimental ways in order to achieve unusual and complex ceramic 2D tile assemblages, dysfunctional vessels and object based forms, all tending toward organic abstraction with elements of figuration attached to them.
I purposely distort and adapt the formal and orthodox language of clay, my goal being to consistently achieve a tension of opposites within the combined material presence and cerebral concept of each object. Although in a constant state of 'flux', I have stayed loyal to certain techniques, strategies and materials during my years of practice. This has helped to define my intention and evolve my style.