35 year of working with clay - Raku and Stoneware
Qualified as a ceramist at Derby and began working as a full time potter in the heart of the Pennines.
I began creative practitioner workshops in the early 90's and continue to this day.
I became a member of the Craft Potters Association (CPA) in 1991 and received fellowship in 1995.
In 2007 I completed a BA Hons in Art and Ceramics at Leeds Metropolitan University.
In 2009 I completed a PGCE in primary education at the University of Cumbria and qualified in 2011.
Now in Carleton-In-Craven, North Yorkshire, I am currently exploring stoneware texture and form with thrown and hand built pieces.
Townley Hall Art Gallery, Burnley.
Oldham Art Gallery.
Aberdeen Art Gallery.
Haworth Art Gallery, Accrington
University of Derbyshire
SELECTED SOLO EXHIBITIONS:
1987 Marie Jordon Gallery, Wakefield.
1989 Bettles Gallery, Ringwood.
1994 Aberdeen Art Gallery.
1998-99 Open Eye Gallery, Edinburgh
2000-02-03-05 Roger Billcliffe. Glasgow
2022 Pyramid Gallery, York
Rationale - Raku work
The influence of eastern ceramics led me to specialise in thrown work as well as the techniques of Raku firing. I work with a variety of materials during the reduction including bracken, ferns and sawdust. The result is a dramatic contrast of vibrant, spontaneous colour against a blackened carbonised body.
Resist slip Raku work
My work has explored shapes and mark making, working from within a Chinese tradition and the continuing evolution or subtle nuance of conventional forms. In essence, an examination of the relationship between east and west or traditional versus contemporary. I have taken successful as well as new thrown shapes and developed additional techniques of making such as slab building, different coloured clays and slips. All this sits within the context of resist slip Raku. I have explored
the resemblance of the incidental marks to Chinese calligraphy, and also emphasized and investigated the relationship between those intentional and other incidental marks.
I have focused on the shape of the calligraphic marks as opposed to their meaning. The marks used on each form are directly influenced by the shape. Conversely the shapes evolution is often influenced by the
decoration. The form often dictates the clay to be used, and likewise the finished colour and qualities are determined by the slips, oxides and the glazes. Each part is a strong element within the total piece and emphasise each others qualities.
I am currently interested in visual and physical texture and of shapes with various origins...