As a child, I was mesmerised by the ancient artefacts in our local museum, especially the Egyptian mummy “Lady Tahathor.” That early fascination has stayed with me, and the artistry of past cultures continues to shape my style and influence the evolution of my work.

I also spent countless hours with my late father, a bespoke tailor, watching him cut and craft his suits. Those moments instilled in me a deep appreciation for texture, pattern, and a textile-like approach to building with clay. This connection often lends an unintentional lifelike quality to my finished pieces.

People often see animal forms or mythical narratives in my pottery. Many of my creations rest on feet or long legs rather than a central stem, giving them a unique sense of character. My inspiration comes from hours spent exploring museums, studying uniforms, fabrics, armour, pottery, and glass. These influences blend seamlessly in my work—like writing an essay, but in clay.

Each piece is entirely unique, even when within the same genre. Individually hand-built from porcelain, stoneware, or a combination of both, my pieces start with slabs of clay impressed with marks from various tools and objects. Shapes are then cut using paper patterns, a method inspired by my father’s tailoring techniques. I still treasure some of his old suit patterns, which continue to guide me.
Colour is woven into the process at every stage. Oxides, slips, and homemade dolomite or barium glazes form the base, while a final precious metal on-glaze lustre firing—incorporating gold and silver—adds a luminous, finishing touch. Some pieces undergo three, four, or even five firings, ensuring that no space in the kiln or bit of colour goes to waste.
The scale of my work varies dramatically, from a 60cm black stoneware pitcher to a tiny 4cm porcelain jug.

Over the past 40 years, my work has been exhibited across Great Britain and internationally. Notable highlights include a collection purchased by Liberty’s in London and exhibitions at the Open Eye Gallery in Edinburgh, the Cecelia Coleman Gallery in St. John’s Wood, and The Bircham Gallery in Holt. My pieces have also been showcased at the Barbican and abroad in France, Germany, and the USA. A particularly memorable commission involved crafting an extensive collection of coffee and tea sets for Saudi Arabia.

As a potter, you might begin with an idea, but the process always leaves room for surprises. Clay transforms dramatically during firing, and the final surface is never quite what you expect. When the kiln door opens and the finished pieces shine back at you, it’s a moment of discovery and delight that never grows old.