One way to explaining this body of work is to tell you a childhood dream. We were staying underneath Vesuvius and I dreamt the volcano erupted. I felt it was my job to keep the entire family safe so I dreamt a van containing all of life’s essentials, but this van was not enough because the lava came, so it needed to have wings to fly, then came the storms so it had to have a hull to sail.
Staying and leaving; making a mark; rooms and ruins and what actually makes up safety have always been a part of my work.
Safe home is a continuing wonder about where, how and when we feel safe. Is shelter found in rooms or out in the world, in nature? What happens when our homes are not safe, but maybe the local wood is?
I am drawn to how we seem to fall in love with less: tiny caravans, sheds, retreats into small yurts and tents and wonder about what is just enough to make us to feel secure?
Quietly years swim
Stoneware with copper glaze. White Boat: stoneware with dolomite glaze. Lilies mixed glazes.
The title comes from a long poem “White Flock” Anna Akhmatova
Stoneware with dolomite glaze. Copper glazed tree and mixed glaze birds nest.
Title from "The exposed nest" - Robert Frost.
Stoneware with dolomite glaze and found toy lead bath
The last flower
Stoneware with copper glaze and copper encased daisy.
The title is borrowed from James Thurber’s parable of the same name.
Stoneware room and boat with copper glaze, lilies mixed copper and dolomite glazes.
When the boat comes in (pass along the old ways)
Stoneware boat and oars in copper glaze, lilies in mixed copper and dolomite glaze.
English folk song.
Stoneware with copper glaze with unrooted tree, short ladder and stool.