I come to ceramics from a background in decorative arts and luxury cake design, bringing with me a long-standing focus on ornament, precision, and surface.

Techniques developed through working with piped buttercream — layering, repetition, and intricate detail — now translate directly into clay. I use piping to build up dense, highly worked surfaces, where decoration spreads across each form like botanical or organic growth. These are pieces that reveal themselves slowly, rewarding close looking.

While the work draws on beauty and decoration, it is also rooted in observation of the natural world — particularly the overlooked and easily dismissed. Small creatures, fragile structures, and marginal forms recur throughout, acting as a way of thinking about persistence, interdependence, and the value of what often goes unseen.

I’m interested in holding a balance within the work. It is celebratory, sometimes playful, but carries a quieter sense of poignancy.

The pieces move between sculptural objects and functional vessels, intended for domestic spaces as well as gallery settings, sitting somewhere between contemporary craft, sculpture, and collectible design.

My practice continues to evolve, building on years of making while opening out into new materials and processes.