The physicality of the relationship between clay and our bodies interests me. Clay, like flesh, responds to and reflects touch. Using very soft clay and wet slip (a creamy clay coating) the fluidity of the material encourages movements to be simplified, refined and “choreographed” – an essence of the expression of gesture. Through these gestural, massage-like impressions in the work, I seek to provoke connections. From clay to the object and beyond to the body, objects that, through usage must be engaged with provide multiple dimensions for the reading and forming of connections.
Born Melbourne Australia. Initial training, Andrew Halford, NSW, 1982-85, Shussai-Gama in Shimane-ken, Japan, 1985-87; studio practice Scotland, 1987-89; MFA (ceramics) RMIT 2002. Exhibitions include: national and international, including representing Australia in Collect, London, 2008. Over 50 invitational group exhibitions including: Subversive, Lightsquare Gallery Adelaide, 2012; Tooth and Nail, RMIT Victoria touring exhibition, 2010-13; Crawling Through Mud, Shepparton Art Museum, 2013; Janet Mansfield Tribute Exhibition, Moss Green Gallery, 2014,. Solo exhibitions include: Craft Victoria; Christine Abrahams Gallery; Freeland Gallery; Kusa Gallery, Japan. Awards: elected finalist in Manningham Victorian Ceramic Art Award, 2013, Vitrify Alcorso Ceramics Award, 2013. Collections include: Museum of International Ceramic Art, Denmark; Hikawa City Collection, Japan; Artbank; Shepparton Art Museum; Bendigo Art Gallery; Nillumbik Collection; Crafts Council Northern Territory. Publications include: How Touch Knows Form, Carolyn Leach-Paholski; The Studio Potter, USA, 2012; Contemporary Ceramics by Emmanuel Cooper, 2009. Founding Director of Slow Clay Centre, Melbourne 2012.