I make my work from wild clay (which I dig near my home in Sussex), and from wild, foraged, native plant fibres: bramble, reed mace, tree bark, grasses, dog rose, rush…
These materials give a natural vibrancy and rich texture. Each piece unique, each connected directly to the land. Echoes of ancient processes.
Textures of wild clay, bonfire-fired, clamp kiln-fired. Smoke clouds imprinted on the pot surface from the fire; every pot is unpredictable, every firing a leap of faith.
What does it mean to have an intimate connection to the plants, seasons and land where we find ourselves? There is an embodied process in harvesting and using foraged materials. A rhythm and relationship inherent in the act of making. It’s a counterpoint to the pull of our increasingly digitalised and disconnected lifestyles.
Willow bark, leaves of iris and lily, reed mace: rich and tactile. Responding to the seasonal variations, a dialogue between hands and plants. Read more about my process of foraging plants.
Process images of wild clay firings:
Know the ways of the ones who take care of you. Introduce yourself. Be accountable as the one who comes asking for life. Ask permission before taking. Abide by the answer. Give thanks for what you have been given. Give a gift, in reciprocity, for what you have taken.
Quote from ‘Braiding Sweetgrass’ by Robin Wall-Kilmmerer