July 2025
w/c 30 June
Surface, Memory and the Spaces In Between
Another week away from making in the studio - I’m starting to feel withdrawal symptoms! Instead, this week has been all about time spent in the glaze room (a space I’ve largely avoided until now) and diving deeper into research, seeking inspiration from artists whose work resonates with my current explorations.
As I continue to reflect on Memories of Place - and how colour, texture and form can help evoke memory, connection and a moment in time - I came across the work of two generative artists: Tyler Hobbs and Thomas Lin Pedersen. Their digital compositions reflect some of my own exploratory sketches, particularly those where I’ve been experimenting with clay ribbons to build surface patterns and texture. Generative art, created through computer programs using defined parameters, results in beautifully unpredictable outcomes - a concept that feels surprisingly aligned with the tactile, layered processes I’m developing in clay.
In my sketchbook this week, I’ve also been experimenting again with techniques reminiscent of pastels - layering colour and texture to build depth. This brought to mind the work of Clare Conrad, whose ceramics I greatly admire. She uses a vitreous slip, mono-printed onto her vessels to create rich, multi-layered surfaces that suggest erosion, time and transformation.
Equally inspiring is the awe-inspiring sculptural work of Vasso Fragkou, a Greek ceramicist whose powerful forms evoke strength, presence and memory. Her work, alongside Conrad’s and the digital aesthetics of generative art, has given me a lot to reflect on - especially in how these ideas might inform and evolve within the contours of my Memories of Place series.
There’s much to process - and I’m looking forward to translating these threads into my own practice soon.
w/c 7 July 2025
Wrestling with 'The Beast': A Week of Unmaking and Reflection
After such a promising start to the week, things took an unexpected turn - yet again I found myself heading down a path in my making that simply didn’t connect with me. Perhaps this is all part of the creative process - a journey of self-discovery, with its inevitable ups and downs. Moments of clarity often seem to be followed closely by confusion, doubt and the ongoing question: What am I really trying to communicate through my work?
I genuinely thought I was beginning to find my rhythm with this series, but this week brought another wobble to navigate.
Drawing from recent sketchbook ideas, I began a new sculpture in my current exploratory series. In my mind, I envisioned an open structure - light, spacious and expressive. But in hindsight, I see now that I was overly ambitious. I started too large, and the form quickly became unruly, taking on a life of its own. I’ve since nicknamed it “The Beast” - a title that perfectly captured the frustration and struggle I felt while trying to wrestle it into coherence.
Eventually, I accepted that it wasn’t working. The sculpture has now been broken down and returned to the recycle bucket - hopefully to find new purpose and direction soon.
Despite the setback, I’ve found inspiration again in the beautiful glass sculptures of Karin Mørch, whose work I saw at Collect earlier this year. Her refined aesthetic and mastery of form continue to offer fresh perspective as I reflect and regroup.
Sometimes, even the failed attempts help us see more clearly - once we’ve stepped back, let go and made space for what’s next.
w/c 14 July 2025
Reconnecting with Process: A New Starting Point
This week, I felt the need to step back and regroup - to reconnect with the core methodology behind this new series of work. I needed to revisit the what and the why, grounding myself again in the purpose and process, while continuing to explore colour and texture through an ever-growing collection of test tiles.
After last week’s misstep with “The Beast”, I was eager to re-establish a more intuitive and meaningful relationship with the material. So, I began a new exploratory piece - still rooted in a single point of topographical reference. This time, I returned to the same starting contour I used a few weeks ago, knowing that the conversation with the clay would naturally take me somewhere different.
For this piece, I’m planning to experiment with a mono-printed, layered slip technique on the surface - a process that holds a lot of potential for visual depth and texture. If all goes to plan, it could be a really exciting way to bridge my sketchbook explorations with the sculptural form.
Sometimes going back a few steps - with fresh eyes and renewed focus - can spark the clarity needed to move forward.
w/c 28 July 2025
Embracing the Unknown: Explorations in Form and Surface
Over the past couple of weeks, I’ve taken some of the pressure off myself - giving space to breathe, while still actively researching form, texture and surface finishes. Stepping back slightly has allowed me to reflect more intuitively on where this work is heading.
I began a new exploratory piece - No. 8 in this current series - rooted in a single place: Sawbridge, UK. I started with a clear intention, but almost immediately the sculpture took on a new direction as I began constructing it. Now, I find myself contemplating how to approach the surface. I'm being drawn back to my 'petal' texture - something that could offer a richer contrast and deeper visual interest. I’ll head back to my sketchbook in the next few days to work through these ideas.
In a slightly more cavalier move this week, I decided to mono-print the surface of Exploratory Form No. 7 - without waiting for the final results from my test tiles. I have absolutely no idea how it will turn out in the final firing, but I’m embracing this as part of the process. There’s something freeing about letting go of the need for certainty - trusting that not everything has to be a success to have value. That shift in mindset has been quite liberating.
There’s still plenty to resolve - particularly with surface treatment and how it relates to the form itself. But what feels increasingly clear is that my premise is evolving into a solid working methodology: creating hand-built sculptural forms that respond to topographical contours and the emotional resonance of place, capturing personal memory and connection through clay.
What’s Inspiring Me This Week:
Geology – The Wave, Arizona
A breathtaking natural formation that reflect on my thoughts regarding movement, layering and fluid form in sculpture. Its rippling striations feel like a conversation between time and texture.
Fashion Designer Saiid Kobeisy
His architectural silhouettes and layering of sheer fabrics echo the balance I’m seeking between structure and softness - an inspiration for both form and surface treatment.
Ceramicists Emily Meisler & Sue Scobie
Both artists explore organic, flowing forms that challenge the idea of containment. Their use of restrained colour and expressive texture resonates strongly with my current exploration.
Sculptor Laura Ellen Bacon
Her large-scale woven sculptures have a powerful presence. I’m particularly drawn to how she responds to space and creates tension within organic forms - a reminder of the emotional energy form can hold.
