I was born in Colne Lancashire, in 1950, an industrial town, but close to wild moors, rivers and ancient fields.
I studied Art at Goldsmiths’ College school of Art, Portsmouth Polytechnic and Sussex University gaining a BA. Fine Art Hons, then ATD.
I settled in Southsea for 15 years, teaching in secondary and adult education for several of those years. Many galleries purchased and exhibited my work during the 70s and 80s. I exhibited in Minnesota and Basle in Switzerland during these years and with a touring Craft Council exhibition ‘Stoneware and Porcelain’ in 1986
After moving to North West London in 1986, I ceased making ceramics, preferring to paint, series including Madeiran Markets, highly coloured nudes and large abstract landscapes with regular exhibitions in London.
I returned to clay ten years ago with energy and focus, having International success in Ceramic Competitions and other events. I was elected a Fellow of the Society of Designer Craftsmen in 2012.
Despite a severe injury and some disability I continue to work in porcelain and stoneware. Invitations to show work in Europe during the last seven years have been an unexpected and happy development.
I returned to porcelain about ten years ago after many years of painting as my main focus. I was drawn back into ceramic sculpture, as the clay bodies available are very seductive. Fine porcelain has a reliable translucency and whiteness with a degree of plasticity that is far superior to the clays I used thirty years ago.
Years living in close proximity to the sea have made me aware of the fragility of our ecosystems and the richness and diversity of marine life. I use only my hands and the simplest tools to shape my invented hybrid sea creatures.
The movement of shoals and the growth and sad demise of coral colonies are current preoccupations in my work. I aim to exploit the delicacy and translucency of high fired porcelain, always enjoying the challenges and risks inherent in the use of this material. The swirling dances of marine creatures are expressed in my wall pieces, mounted in bespoke translucent backed Plexiglass box frames.
After firing the works to 1280 Degrees C. I hand paint my mini sculptures with precious metal lustres over only partial glaze to try and emulate the softness of a watercolour effect. These colours are then fired to 720 Degrees C. for a second or third firing,
Risk is a critical element in my work. How delicate? How thin? How will the shrinkage and movement in the kiln firing change the work? Certain unpredictability adds excitement to my process, and the challenge of combining incompatible black stoneware with the purity of porcelain adds a strong contrast in some of my works. Works selected for the permanent collection of International contemporary ceramics at the Museum of Ceramics, Alcora, Spain and two Second Prizes there have been a catalyst and encouragement for me to develop some of my ideas.
I seek not to imitate Nature but to suggest the beauty and fragility of the natural world .