I work with a very white stoneware clay, often adding grit for enhanced surface texture. I often distort the pieces when they reach the leather-hard stage. I glaze fire to Cone 6, in oxidation.

I dip, then quickly, but cautiously, squirt streams of contrasting colour that follow the curved surfaces of my hand-thrown vessels.

My Bark series of tree trunks is a recent endeavour; I’m experimenting with hand-building, and mould-making.