I have worked in a lot of studios over the last thirty years. Each studio had different equipment, clay bodies and glazes. So, my vessels and style changed based on what was available to me. The one consistent thread is that I have always been a hand-builder. 

About seven years ago, I started using porcelain exclusively. I fell in love with its whiteness and smoothness. It is a pleasing, tactile experience to dig your fingers into porcelain. Over time, I started exploiting porcelain’s translucent properties, which meant working thinner and thinner. Layering and overlapping very fine pieces led to light and shadow play in my work. I also began exploring porcelain’s textural potential. So one discovery led to another — and another.

I handbuild all my pieces using variations on coiling, slab and pinching, techniques that have literally been used for millennia.  I am always trying out new ideas. The complexity and intricacy of my work comes from combining basic techniques with new ways of working. I break a lot of rules. I never get tired of exploring what porcelain can do.