Relationship lies at the heart of this practice. Through attention, relationships become visible — between movement and stillness, material and maker, people and place, and the subtle exchanges that shape both the natural world and ourselves.

Every action leaves a trace, influencing what follows. I am drawn to the patterns of ripple and response that reveal how nothing exists in isolation, and how form becomes a quiet record of consequence rather than a fixed outcome.

Growing up on the Mornington Peninsula in Victoria, I spent extended periods observing surface change — sand forming and dissolving into ripples, tides rewriting edges, weather reconfiguring the shoreline. These patterns were not interpreted; they were absorbed. They remain present in how I understand continuity, change, and return.

Clay became my primary language after years of working across painting and drawing. A formative influence was my study of sumi-e with André Sollier, where gesture, restraint, and emptiness operate as active forces. This shifted my focus from depiction toward presence — where what is absent holds equal weight to what remains.

Travels through Asia, and a lasting admiration for East Asian ceramic traditions, further clarified my attention to material life, where object, ritual, and use are inseparable, and where meaning is held through repetition, touch, sound and duration.

I completed a Graduate Diploma of Ceramics at Federation University in 2022 under the guidance of Peter Pilven and Koji Hoashi, returning fully to clay as both material and inquiry.

My work is hand-built in stoneware using white, mixed, and repurposed clays. Surfaces are formed through accumulation, interruption, and response to material behaviour rather than pre-determined design. Glazes — often blues, blacks, and Shino’s — operate as atmosphere rather than surface, holding depth, density, and variation.

I hope these works encourage a slower way of looking, where attention reveals the intrinsically linked relationships between movement, material, and the traces we leave behind.

Acknowledgement of Country
I acknowledge the Wadawurrung and Dja Dja Wurrung peoples of the Kulin Nation as the Traditional Custodians of the lands and waters on which I live, work, and create. I pay my respects to Elders past and present, and acknowledge their enduring connection to Country, culture, and community.

”Organic, sand, dunes, playful. Ancient landscapes. Strong, bold and elegant forms. Sophisticated design.” - Angela Robinson (1969-2021) artist, educator, friend.