These recent works are handbuilt earthenware, formed using my whole body. Working with so much clay is physically demanding, but I’m finding deep pleasure in the intensity of it. The material calls for movement, for force. This piece is a great hunk of clay—formed, carved, hacked at. Its base, a weathered plinth, was made with a slightly different choreography but carries the same energy.
These works emerge from a place of deep comfort with my material. They feel like a performance in some way. I love to dance. This work was part of @oigall_projects VIP lounge for @melbourneartfair | I bring you love, 2025, earthenware, 1730x370x370.
Making ceramics sucks a lot of the time but I do annoyingly love it.
Working with it draws from a well of resentment and joy in the same hand. Like leaning into the intrusive thoughts and licking the butter knife.
I remember throwing my first pot back in 2013, and how quickly it captured my attention. That was a brief encounter, but by 2015 I was locked in deep. And now, suddenly, it’s been 10 years.
I still make the odd functional piece when I just need to get my hands into the material. Sometimes, after heaving around literal tonnes of clay (like the work above), it’s nice to make something small. Thoughtless. Just a chic little bowl built from muscle memory and a single brain cell.
I might invest a little time in making some functional pieces more over the coming weeks. Mud for 10 year anniversary. If you’d like to be kept in the loop, jump on my newsletter. They’ll probably be pretty fab. The work above exhibited with @oigall_projects at this years @melbourneartfair earthenware, 1200 x 40
I said no but I kept the ring 💅@bobbycorica made me my engagement ring based off a ring my grandmother gave me. It was silver initially but I wanted it in gold because quite frankly I deserve it. The gold was sourced from other pieces that she gave me that were missing stones or too small for me. Very Elven, very Lothlorian tea sis period. Love him, its actually fab being locked in with a jeweller lowkey. Loved my last two weeks with my Australian goblins ❤️
It was Beatrix’s birthday the other day. Forever missing those beautiful little eyes watching my every move - Bea, 2024, kiln shelf, glaze photographed by @casper.plum for @oigall_projects
Sphex Vessels are now available online through @bureau.of.innovation these works recently exhibited this year in Mayfair in ‘Against Nature’. The works were thrown, carved, and fired in Berlin end of last year. With limited studio access the works were made with a sense of rawness and restraint compared to works that I usually make. I found myself repulsed by most glazes with this clay body, but this somewhat bodily glaze I used every now then felt murky but also right for the local context and the mode of making at the time. It was so chaotic but exhilarating, like do you know how crazy BIKING with 6 raw pots on cobble streets is. Thank you also @jana_francke for helping me fire these in your dungeon xx Photography @michaelsinclair
I went through basically all my belongings recently which made me feel slightly insane but I stumbled upon a bunch of sketches of forms in an old muddy ratty diary. I decided to make a few of them but I wanted to keep the marks and splotches in the weathered sketches. There’s a rhythm I’m catching in the quick kinda manic scribbles. This piece is thrown, carved, glazed roughly and then fired a bunch of times. 2025, Stoneware, glaze, 13x13
One my recent works - these works typically undergo 3-5 firings to develop the layers of glaze. I’ll move between glazes loaded with weaker and stronger content of oxides and colours. At this point in my work, I have a pretty clear idea of how they’ll react to the heat so I can take advantage of structural build up of glaze - different surface finishes between highly glossy, matte and also pushing the metals to give you that kinda milk-skin like effect that you’d see when dealing with molten material in foundries. Thrown stoneware, kiln bricks, glaze, 2025
