I am a qualified industrial ceramicist and self taught studio potter.
Each piece is handcrafted using slightly gritted buff clay.
I design and cast my own moulds (both single and multi-piece).
I develop and produce my own glazes (both dip and brush-on).
Each piece is fired in an electric kiln to a temperature of 1200.C
I work in Christchurch in Dorset
My range of ammonite ceramics can be purchased through The Hatch Gallery in Christchurch, Fisherton Mill Gallery in Salisbury, and The Purbeck New Wave Gallery in Swanage.
My orchid pots and some ammonite ceramics can be purchased on-line through Etsy.com.
Prices are listed on this website and if there is anything you are interested in, do please contact me.
Painting one of my large tiles which are available through the galleries.
My Father used to grow orchids. He saw an old orchid pot from China which had holes in the side and asked me to make him one. This first pot worked very well, so I produced more … turns out lots of other orchid growers wanted them too.
Ammonite Tiles and Clocks
We have a lovely Portmeirion tile. When I tried to buy another I couldn’t find one, so decided to make some and put them in an exhibition at the Hayloft Gallery. I decorated each one with either a butterfly, a seahorse, gobies, a dragonfly, or an Ammonite. The most popular by far was the Ammonite …
Jurassic Coast Landscapes
I am a great fan of impressionism. Lockdown has given me the opportunity to work on a new range of ceramics which are a little different to my usual style. I have always admired painters who can send you on a journey into thoughts, emotions and memories just by producing a vague image.
Production of my own glazes.
I achieved an HND in Industrial ceramics by the time I left education.
I can make pots and moulds in all kind of ways, but the one thing we were never taught was glaze technology, we were just given vats of the stuff and taught how to apply them.
Glaze technology is hard and complicated (or is that just for me?) I got really frustrated with having to buy bottles and powders that I couldn’t control, so I bought a book, and with the advice of a much more knowledgeable potter, started on the way to produce a perfect smooth white base glaze.
It took about a year, a lot of firings, a few tears, and wrecked some kiln shelves, but that knowledge is my most valuable ceramic asset. Having the understanding allows me to have complete control of the glazes that I wish to produce, be it matte, satin, gloss, textured or flowing, with lots of variations of colour (apart from oxidized reds and yellows which are still stains …. all us potters are still working on that one).