Whether I work in clay or paint or sculptural materials, I take my inspiration from the natural world around me. A hike in the dense forests or along the rocky coastline never fails to provide me with a sense of openness and clarity that later informs my work. It is the details that I notice. I find myself as fascinated by the smallest lichen on a twig or cluster of shells on a beach as I am by the endeavours of a hummingbird or the tracks of an animal in the snow. Skeletal remains of living things, be they plant or animal, also fascinate. I once came across the bones of a small animal on a mountaintop. The bones were bleached by the sun and were as smooth and white as porcelain. They captivated me and I found myself thinking of their fragile beauty often. They reminded me how intricate and interwoven the natural world is, yet also so fragile. My work is a visceral expression of my response to this awareness.
I coil-build organic forms in clay, then burnish the clay to produce a soft, smooth texture with a fine sheen. The work is then fired in wood and sawdust with the addition of dried plant materials, oxides and minerals. Although I can encourage certain results, the surface is provided by the fire, at its choosing. I love this aspect of the finished piece.