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I left a rewarding career as a primary school teacher to embrace a contemporary craft degree which led me to become an artist in my own right.
During the course of my Contemporary Craft degree I developed my long term fascination with folding paper; how it moves from 2D to 3D, creates curves from straight lines, and encloses the space between. I took those ideas into beautiful creamy porcelain, with its contrast of delicacy and strength, and developed a technique of press moulding onto linen and cotton, folded with an imperfect regularity. The resulting pieces have a surface that accentuates shadows and plays with light. L E S S I S M O R E Sculptural porcelain, characterised by a stripped back palette and clean lines to create a contemporary look. You can read my BLOG here. Contact me here. |
My work has been exhibited in Thirsk (Rural Arts), York (According to McGee, the Norman Rea Gallery, York St.John University, Merchant Taylor's Hall, York Open Studios 2019), Leeds (Sunny Bank Mills), Scunthorpe (20-21 Visual Arts Centre), Harrogate (Alzheimer's Research UK National Research Conference), Newcastle (the Holy Biscuit), London (Art.Number 23) and Urbino, Italy.
I am a member of the British Origami Society, Northern Potters Association, Craft Potters Association and currently Artist in Residence at York College.
I am a member of the British Origami Society, Northern Potters Association, Craft Potters Association and currently Artist in Residence at York College.
ARTIST IN RESIDENCE
As Artist in Residence at York College I work alongside Art and Design students on York College's fantastic range of FE and HE courses.
WHERE YOU CAN SEE MY WORK
As Artist in Residence at York College I work alongside Art and Design students on York College's fantastic range of FE and HE courses.
WHERE YOU CAN SEE MY WORK
- 23/24/25 October: Art& York
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ADDING PURE COLOUR
1. Like an alchemist searching for gold, the glaze stain colour has to be added accurately, and in proportion to the quantity of porcelain, to get the required depth of colour.
2. It takes time and patience to mix the colour into the porcelain until it's evenly blended through.
3. A morning's work waits for firing. Six glaze stains, each worked into creamy porcelain in increasing depth of colour.
4. After firing, the samples emerge from the kiln to reveal their true colours.
These are the colours I will be working with to create new work to show at Art& York in October this year.
1. Like an alchemist searching for gold, the glaze stain colour has to be added accurately, and in proportion to the quantity of porcelain, to get the required depth of colour.
2. It takes time and patience to mix the colour into the porcelain until it's evenly blended through.
3. A morning's work waits for firing. Six glaze stains, each worked into creamy porcelain in increasing depth of colour.
4. After firing, the samples emerge from the kiln to reveal their true colours.
These are the colours I will be working with to create new work to show at Art& York in October this year.
