All my ceramics are collected here according to the glaze or decoration - just to make things a bit easier!
I work mostly in a very pale stoneware and occasionally use porcelain (the drunken diva that she is). I use a mixture of bought in glazes and my own glazes depending on the effect I wish to create.
The forms are mostly thrown on the wheel, sometimes manipulated when leather hard; sometimes scratched and carved when bone dry.
My inspiration comes from my art practice, sketchbooks, drawings and research - an Etruscan jug here, a Chinese bronze there, a Japanese brushmark....
I am influenced by the natural world and a love of callagraphic and graphic mark making. My glaze choices are always made to flatter the form; sometimes the consideration and experimentation before commitment is quite a long process as I seek to find the 'voice of the vessel'. My work is mostly domestic in scale and, hopefully, useful in essence. 
SEA FOAM
This collection is inspried by the edges of waves as they lap onto white sand. The effect is created by overlapping a matte white glaze with a shiny green celadon. The patterns arise from the tension during the gloss firing between the two glazes as they flow at different rates and at different temperatures. The patterns are unpredictable - sometimes joyous freckles and swirls, other times more muted and calm.
SCANDI
This lovely collection is inspired by one of those spontaneous conversations with a student who was struggling to find and refine an idea. The matte white glaze is interrupted by random lines of the unglazed stoneware. I love the quiet discourse between the muted tones and textures.
VERIDIAN SEA
This range evokes the colours of the deep ocean with overlappping waves of colour. This very matte glaze is rich in copper and cobalt. I apply the glaze in two dips, allowing the glaze to begin to settle so that the heavier particles have time to 'fall' between the applications. I enjoy considering where the distinctive lines will fall on the surface of the form but the glaze is unpredicatable and I have to wait to see where the dark speckled areas and lines will appear.
I have recently been playing with this glaze and now have Cobalt Sea and Lagoon variations.
DIZZY CIRCLES
These exhuberant circles and ripples, in a range of colours, are developed from sketchbook exercises in watercolour. I have responded to the reflected colours, patterns and surface distrubances of ripples on water. I apply oxides (cobalt, copper, rutile, nickel) and stains over a matte white glaze (a faux majolica). I play with colour combinations over the suface responding to the form.
AUTUMN STORM
This range is named for the lowering clouds as they gather.
The semi matte glaze works well on a textured surface where rusty tones develop on the 'breaks' on the surface. I often choose to leave bare stoneware to contrast with the moody glaze.
BRONZE, DENIM and BRONZE
These are more individual vessels, most with a wider rim on which I apply oxides to make a bronze glaze. These vessels require a further firing - lots of jeopardy in this technique! I love the combination with other glazes, especially the super matte denim blue.
(the bronze is not food safe)
SWIPES and STRIPES
Here I have used brushstrokes to add decoration over the matte white glaze. I play with contrasts in shiny and matte glazes and with different brushes to create different effects. I love the simplicity and energy which seems to come from the breath and pause before I make the strokes of colour - calligraphy - the marks tell the story (writing?).
SMOKE FIRING
This is a technique full of fire, smoke and serendipity. The unfired work is covered in terra sigillata (very fine slip) and polished. This is the same technique that the Greeks used on their red and black ware. Then the work is bisque fired. After this it is placed in a fire with a range of combustibles - sawdust, wood, salt, copper carbonate, teabags, dried banana skins. Some areas can be masked with sand/slip or wax. Finally the work is cleaned and given a coat of bees' wax. The effect is subtle and quiet.
IKEBANA
I was commissioned to make some vases for ikebana and this led to more contemplative, experimental investigations.
Ikebana is Japanese flower arranging, with all the fantastic aesthetic concerns we associate with their art forms. Ikebana seeks to find balance in asymmetry and harmony in the dynamic arrangement of natural and man-made forms. The Japanese idea of wabi-sabi, which finds beauty in the accidental and irregular, is a great inspiration, especially with the use of glaze. My forms have holes and are often asymmetric combinations of joined and distorted forms. I use bronze and pewter glazes in combination with other glazes.
Have a quick look at the making of a bowl (link will take you to my instagram page)
quick bowl....
Test for you tube 1