This sculpture has a strong brutalist feel, with a solid, stacked structure, block‑like shape. The surface isn’t a uniform brown — you can see the clay body coming through beneath several layers of brown glaze, giving it a textured, weathered look. It’s hand‑built from white stoneware clay, so the small variations in shape and finish are part of its character.
This hand‑built vase is one I agreed to recreate for a commission, even though it’s the piece I wrestle with the most when it comes to glazing. There are so many variables that can drift away from what I imagine — the brown slipping too dark, the blacks or whites taking over, the balance shifting in unexpected ways.
Still, I’m glad I committed to making another one. Despite the challenges, the result reminded me why this form is worth returning to.
This variegated floral motif emerged from the ornamental language of plaster — the kind found in facades, theatres, and ceiling reliefs. I was searching for a texture that could carry the glaze across the surface like a slow cascade, allowing color to pool, bleed, and mingle in unexpected ways.
K11 is the name of this crackling glaze. I’ve been working with it for the past two years, introducing small variations and exploring its possibilities with colour. Of all the glazes I’ve developed, this one remains my favourite—not only for its beauty, but for the way it responds to different silhouettes, whether on vases or sculptures. Take a look at…
This is the first time I’ve shaped this silhouette. My process is slow and iterative; I often return to a form again and again, letting it shift over the years. Each revisit is a way to refine the design or allow it to evolve into entirely new variations.
Happy Friday!
Warm Ember
Large stoneware bowl
I really like how this piece turned out. The form has a gentle, wave‑like movement that reminds me of the ocean. The brown and beige glazes create a soft contrast—enough to highlight the shape without feeling too bold.
Now available at @pepite.gallery
Dualuna
340mmDia x 410mmH
Hand-built from white stoneware clay and layered with several coats of black and off-white glaze, this piece is carefully crafted to express art through both form and surface. The shape is deliberate, and the glazing is applied to highlight its contours and depth. The striking contrast between black and off-white, combined with the glossy finish and substantial volume, gives the work a bold presence while inviting the viewer to explore its textures and details up close.
I first made this vessel in a soft white satin, but this charcoal–silver–green palette turns it into something far more mysterious. Hand‑built stoneware with copper peeking through the glaze—visible only when you get close. Despite its rugged look, the surface feels surprisingly soft.
Closing out 2025 feeling deeply grateful for life and for every moment shared with the people I love. These photos and videos hold the laughter, the quiet pauses, the adventures, and the inspiration that shaped my days. Grateful for the chance to create, to express my art, and to live surrounded by beauty—nature, people, and everything in between.
Triángulo
Stoneware wall piece, hand-built with Western Australia clay. The surface is finished with a black glaze which is meant to separate under high firing temperatures. During vitrification, the glaze undergoes phase separation, producing irregular, organic break patterns. These variations creates visual interest, enhancing dimensionality and emphasizing the material’s response to thermal stress.
Working with Kate Dolan was a wonderful experience. From my last show, I took away many lessons that encouraged me to experiment further. I explored new shapes and glaze techniques, discovering directions I can refine and expand in future pieces. Warm tones, along with glossy and satin finishes, are part of the palette I continue to develop.
