I work with either medium grog black, or Scarva Earth 40, stoneware clays as my structural materials. I layer other clays on top, including porcelain mixes and incorporate stains, and then slips. These stretch, integrate and then emerge as I roll out the clay making a subtle surface. I cut out the shapes I want, slab building my structures, adding slips again both before and after the bisque firing. Oxides are added after the bisque firing and the products taken up to a lowish stoneware firing if I am looking for brightness or a high one if I am looking for depth of dark, in an electric kiln. The forms I make are abstract in nature while resonant of known objects. The vessels are not pots in the useful or vase like sense. They struggle to hold flowers or to pour milk. They arise from an interplay between the needs of the clay and the possibilities of built form. This combines with the painted breadth of the surfaces to create a visual conversation. Currently I am exploring the dance that occurs when you interject a third element, the “rudder”, into a conventional two-sided structure. In addition I am interested in the binary nature of a two-sided pot, treating the A-side as a canvas, and the B-side as a strong sculptural composition. We meet the objects somewhere between our wish to make sense of them as jugs, crumbling buildings, coastlines or industrial landscape and our openness to engage with the spaciousness of larger scale or more distant vistas than are implied in the modest forms.