I use industrial methods of casting in an inventive way; techniques I developed during my personal research when undertaking my masters degree at the Royal College of Art.
Combining layers of parian porcelain and screen printing coloured clay, using plaster batts and ridged texture, the outcomes are of shifting scenes. Atmospheric and highly detailed; the more time you take to look, the more appears.
The parian porcelain remains soft to form and finish, but only for a short while as it hardens by drying and the moisture leaving clay body. The colours I use do not appear fully until they are fired to 1240 degrees in the kiln.
When the viewer physically shifts, the subtle textures appear to 'move'. Colours and imagery seem to appear and disappear. I enjoy that interaction and element of visual revelation.
An honesty of the ceramic material is kept, unintentional blemishes embraced; re-worked or left to describe the reality of perfection, in my mind, being impossible to achieve.