A pot has a lip, a foot, a shoulder, thus, already imbuing it with living form. I often ask myself why I see my pots as female vessels and why they have such a consciously feminine presence – perhaps because I associate women with the earth, with giving and nurturing, and pots with storing and serving food. And, the malleable quality of clay inspires the fluidity of the feminine body in my work.
The clay body is an ancient body of recycled lives and untold tales. Each coil that I roll could be a thousand years old.
When I look at ancient ceramics, I am fascinated by how they can express the sacred, despite their simplicity. My interest in archeology and ancient objects led me to explore different ways of making and decorating vessels. In this collection, I used stoneware and earthenware clays, mixing engobes with manganese and rutile on many of the pieces to achieve the correct patina.
I wanted to create a totally different collection of work by using very vibrant colours on my pots. I used glazes, underglazes and oxides on different clay bodies. Akin to painting on canvas, I found this way of working very liberating and joyous.
I use porcelain for its purity and white body. It is a difficult material to work with and has to be cajoled into submission. Sometimes I win, oftentimes it wins. But together we create beautiful forms.