I am a ceramic artist working with clay as a way of listening to the world.

My practice is shaped by the tension between movement and stillness — not as opposites, but as continuous exchange. Within this exchange, I am drawn to trace, residue, and interruption: the evidence that nothing acts alone, and nothing returns unchanged.

I understand the world as a field of ripple and response. Visible and invisible forces pass through material, land, and human behaviour, leaving subtle shifts in their wake. My work sits within this condition of consequence, where form is never fixed but always the outcome of what has preceded it.

Growing up on the Mornington Peninsula in Victoria, I spent long 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 further clarified my attention to material life, where object, ritual, and use are inseparable, and where meaning is held through repetition, touch, and duration.

I completed a Graduate Diploma of Ceramics at Federation University in 2022 under 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 — operate as atmosphere rather than surface: holding depth, density, and quiet variation.

Each piece is made to hold attention rather than command it. I am interested in what becomes perceptible when looking slows — and the quiet shifts that emerge when an object is allowed to speak in its own rhythm.

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.

Testimonial

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