Form exploration and joining thrown forms together. 2025.

Mug. Stoneware. 2024. Electric Firing, 1240. These pieces focussed on the glaze accentuating the form, exploring subtle tones and harmonizing colours that drip down the sides.

Large blue toned vessel. Stoneware. 2024. Electric Firing, 1260. Similarly to abstract paintings I enjoy exploring textural layering, seeing the process under each layer and telling a journey.

Collection of small vases 2024. Electric Firing, 1240. When making these pieces I considered individual variety within a similar glaze combination and form.

Sky blue and moss green mug. Stoneware. 2024. Electric Firing, 1240.

Toned Vase. Stoneware. 2024. Electric Firing, 1260. The inspiration for this piece was derived from a trip to Red Rock, Nevada, where I examined earthy red colours and sharp contoured lines in the natural landscapes.

Small Vases. Stoneware. 2024. Electric Firing, 1260.

Ramen bowls. Stoneware. 2024. Electric Firing, 1240. Making ramen bowels posed a challenge at first, however with practice I refined my technique to produce a repeated form. Now it is one of my favourite pieces to throw.

2024

Autumn vase series. Stoneware. 2024. Electric Firing, 1260. These works explore positive and negative shapes with glazes and unglazed portions of the vases. The pieces stand alone and together. When together they provide a continuation of line and shape, intended as a playful interaction with the viewer who can change the composition to create new shapes.

Sandy Orange Stoneware vase. 2024. Electric Firing, 1260.

Local beach sand espresso cup. Stoneware. 2024. Electric Firing, 1240.Incorporating local beach sand creates a three-dimensional texture to the form, drawing the viewer in with it's tactile qualities. I enjoy the unique reactions that happen to each piece during firing and find it is interesting to see how different raw materials respond to each form and glaze.

Handbuilt Stoneware vessel. 2023. Gas reduction firing, 1240. I worked in wood chips to the clay body when building this piece which burnt holes in thee clay when fired. I then sanded off the surface to uncover the cavities and pin-holes that remained. I wanted to use wood chips to illuminate how the vessel can be both very fragile and a solid, strong structure at the same time.

Stoneware mugs. 2024. Electric Firing, 1240.

Earth tone tumbler. Stoneware. 2024. Electric Firing, 1240. Subtle tenmoku colours echo the local Nova Scotia coastal landscapes, where this piece was made.

Globe vase. Local beach sand and walnut shells Stoneware. 2023. Gas reduction firing, 1240. This small vase was an exploration of diverse textures in a refined space. The use of local materials connects the form to the local environment in which it is made, such as the coastal areas near Halifax. I am now looking to explore how this glaze application can be applied to closed forms.

Large vessel. Stoneware. 2023. Gas reduction firing, 1240.Local beach sands and walnut shells. Stoneware. 2023. Inspired by water ripples and beachside drift wood this piece used turquoise glaze with a water like transparent purple-blue glaze. The piece used local black beach sand developing the depth of colour. Walnut shells are used inside to create a stippled effect to the glaze.

Cylindrical vase, local beach sands. Stoneware. 2024. Gas reduction firing, 1240.

Cylindrical vase. Local beach sands, kyonite and walnut shells. Stoneware. 2023. Gas reduction firing, 1240. This piece explored the use of multiple different beach sands and glazes to produce a diverse range of textures.

Stoneware vessel, unglazed. 2023. Gas reduction firing, 1240.

Handbuilt water sculpture. Stoneware. 2023. Gas reduction firing, 1240. I find pieces interesting when they correspond to one another, and can tell a story together, or apart.

Small Vase. Local beach sands. Stoneware. 2023. Gas reduction firing, 1240.

Handbuilt vase. Abstract figure. Stoneware. 2023. Electric firing, 1240.