My current practice draws on years of making experience and a more recent fascination porcelain. My primary tool is the potter’s wheel. I enjoy the processes necessary to using clay in its wet state, where it is malleable and can be flattened, stretched, twisted and pulled, and in its leather hard state when it can be trimmed, turned, cut and joined with precision.

I make vessels. In playing with scale they leave the domestic environment and become ceremonial or festival pieces, fonts moving into the quiet of a contemplative environment and riotous pitchers asking to be the centre of a celebration. Some vessels fall naturally into groups, conversing with each other and suggesting ties of family or friendship. Others remain as individuals.

I regard firing as an integral part of the process of making any ceramic pieces. Porcelain, which is so fragile and delicate in its raw state becomes strong and permanent after encountering the transformative fire. I need to control this as much as forming the clay. My environmental concerns have led me to research and now construct the low impact wood fired kiln at Mid Wales Arts, designed by French Potter Jean Girel and the first of this type in the UK, which consumes less wood and fires more cleanly than traditional kilns, and which brings a richer surface to the work than firing with gas or electricity.