After studying Fine Art at Kingston University I became disillusioned with the art world and stopped making art. It wasn’t until I read The Beauty of Everyday Things a book by the Japanese art critic Yanagi Sōetsu, that I discovered the beauty of function. I was working in a school at the time. I started using clay there during my lunch breaks and stayed at the end of the day to practice my craft. I have not had any formal teaching and have gained the vast majority of my knowledge of pottery from online tutorial videos.
When I moved from Cornwall to Oxfordshire I signed up to a community studio that had just opened in my local area so I could keep potting while surrounding myself with like minded people. I then moved into my own place and have renovated an old out building into my home studio.
I currently teach and technician in Art and Design at Abingdon and Witney college and teach pottery specific courses at Oxfordshire arts (please see my News page for further details).
I like to make work that can be used in everyday life and take pride in turning lumps of clay into useful objects.
If you have any questions about me or my work then please don’t hesitate to contact me either by email or filling out the form in the contact section (link below)
In a world accelerating at an almost ungraspable pace, where information is consumed and discarded in an instant, I find a profound solace in the act of making. Working with clay allows me to resist the ephemerality of modern life, to pause and solidify moments into lasting form. Ceramics, for me, become a vessel for attention and reflection—a counterpoint to the rapid, often disorienting flow of contemporary culture.
I think of ceramics as a kind of newspaper: a document of the present. Yet unlike paper, which disintegrates and fades, clay—once fired—endures. Museums and archaeological collections are filled with ceramic fragments that stand as freeze-frames of entire civilizations, outlasting texts, technologies, and even empires. In this same lineage, I wish for my work to serve as modern monuments to our own time.
My practice draws directly on techniques that have historically transformed raw earth into permanent artifact, while translating them into contemporary equivalents. Where ancient makers relied on fire, I use the electric kiln; where slips and ash once defined surfaces, I employ glazes stained with oxides to both echo and expand those traditions. These methods allow me not only to replicate the durability of the past but also to modernise it—recasting vessels that once carried messages about their moment in history so they may speak to the present.
Each piece is an attempt to capture the fleeting: the daily, the popular, the overlooked. What may seem trivial or transient—yesterday’s headlines, fleeting trends, cultural noise—can, through the permanence of clay, be fixed, studied, and reconsidered. My ceramics aim to draw attention to the absurdities and contradictions of the present, from the manufactured layers of “fake news” to the relentless churn of popular culture. By slowing down what is otherwise fleeting, I hope to create objects that outlast the blur of their moment, offering future viewers a tangible monument to the fragile, fractured truths of our age.