The Moon in Me Looks Back at the Moon
30 Moon Phases, thrown off the hump, Anagama fired.
Made over a full lunar cycle - from the Pink Moon on April 1st to the Flower Moon on May 1st - this work is an ode to our oldest clock and the cycles of life, death, and rebirth. The title is borrowed from Kawai Kanjiro’s poem Windows of Life. The moon as a mirror to the full spectrum of human experience - loss, repair, and the cycle that holds them both.
Shiro Oni Residency, Japan, 2026.
Remnant
‘Remnant’ sits somewhere between vessel and horn. An intrigue in objects that hold spiritual residue, and a meditation on what persists after a cycle ends.
Shiro Oni Residency, Japan, 2026.
Plinths for River Stones
Plinths for River Stones is a collection of small ceramic plinths, each holding a stone gathered from the banks of the Kanagawa River in Onishi, Japan. The work honours the human impulse to pick up a stone and feel the vertigo of holding millennia in your hand.
The plinth is often used to elevate something man-made; here, that reverence is offered to the stones instead - ancestors of clay.
Shiro Oni residency, Japan, 2026.
Sanbaseki stone on the Kanagawa river, Onishi, Japan, 2026.
The Kanagawa River, Onishi, Japan, 2026.
Terra Incanta is an ongoing body of work that began at the Royal College of Art in 2022.
It was first inspired by a landscape I have been returning to since childhood — the Isle of Raasay. Many kinds of time run through this place. Raasay sits within the Inner Sound, made up of Lewisian gneiss, highly metamorphosed rock dating back 2.7 to 3 billion years, among the oldest in the British Isles. Hallaig, now a ghost landscape at the south end of the island, is home to silver birches that were among the first species to recolonise after the last ice age, and bore witness to the Highland Clearances in the early 1900s — when the community living there was forcibly removed by a wealthy landowner who turned the land over to sheep. The birches grow twisting and bent-headed, as though still mourning that severed kinship.
Terra Incanta is a love song to the wild fringes of the earth, and to the oral traditions and ways of knowing that have been discarded under systems of capitalist ‘progress’. The work encompasses both towering spiral forms and a gathering of orbs — made with varied textures and smoke-firing techniques — that together become metaphorical landscapes, moving between root, body and vessel. The spiral runs through all of it, a recurring form in nature’s geometry, from leaf cells and seashells to galaxies and weather systems.
The work has continued to evolve since, with a new iteration shown in Alchemy with Thrown Contemporary at Omved Gardens in 2024.
Terra Incanta
Royal College of Art Degree Show, MA Ceramics and Glass, 2023.
Wheel-thrown and coiled vessels in black anthracite stoneware.
Wheel-thrown orbs in assorted stonewares, some smoke-fired.
A later interaction of Terra Incanta for Alchemy Exhibition at Omved Gardens with Thrown Contemporary Gallery, London Craft Week and Chelsea Fringe, 2024.
