about making

More often than not, it begins with a found object, like the texture of a thread or the memory of a porcelain figurine. Sometimes the found can be a story, even a few words describing something or a feeling that needs to be made in a tactile and fragile material.

The combination of the found and made, a tangible object and an abstract idea is what motivates me the most. This allows the material qualities of the clay to interact with the refined details of the found elements. I love the clumsy, awkward and sometimes ugly qualities that can be found in old and discarded objects with their inherent narratives, suggesting the passing of time.


It was the thread as a tangible object as much as a concept that really inspired me. It began with the story of the Fates or Moiraes in Greek mythology who spun the thread of life and were said to decide the length of each individuals life. In the work ‘seventy-four threads of life’ the threads have been spun from wool and dipped in porcelain slip creating organic and fragile pieces, enhancing the idea of impermanence.

A thread can be a fine cord of two or more twisted fibres used in sewing and weaving. But it can also be a train of thought, story line, sequence or a continuing unifying element running through a story. In Ariadne’s thread I have wrapped knick-knacks and souvenirs. By transforming the original forms into fossilised remnants I want to symbolise the elusive nature of memory. The threads connecting the objects illustrate my train of thought in the process of making. In this case the thread is also a line, similar to that of the abstract mark making used in my drawing.