Artist Statement

My practice investigates devotion as both a creative process and a human experience. Through hand-built ceramic vessels, I explore whether sustained attention, labour and care can imbue an object with a sense of presence long after its making is complete.

Every sculpture is built coil by coil and passes entirely through my hands. There are no mechanical processes that separate the maker from the object. Each decision is made slowly, allowing time itself to become part of the finished work. I am interested in the possibility that craftsmanship is more than technical skill—that genuine devotion leaves a tangible trace within material.

The vessel has become the central form through which I investigate these ideas. Across cultures and throughout history, vessels have carried food, water, offerings, ashes and stories. They are among humanity's oldest and most enduring objects, existing at the intersection of utility, ceremony and memory. Within my practice, the vessel becomes a metaphor for our own capacity to hold experience: grief, transformation, wonder, love and reverence.

Recurring motifs of moths, beetles, birds, snakes and botanical forms draw upon the intelligence of the natural world and its continual cycles of transformation. These forms are not decorative additions but part of a symbolic language that reflects my interest in humanity's relationship with the living world. Ornament, for me, is an expression of attention. It asks the viewer to slow down, to look closely, and to recognise the extraordinary complexity that already exists around us.

My work does not seek to recreate historical objects, but to continue an ancient conversation about why humans make things by hand. In an age increasingly defined by speed, efficiency and automation, I am interested in what is preserved when time, patience and care remain visible within an object.

Ultimately, my practice asks whether devotion can become perceptible through material. Whether an object that has been shaped with extraordinary attention can invite extraordinary attention in return. I hope these vessels encourage moments of wonder, contemplation and recognition, reminding us that the handmade object remains one of the most enduring records of human imagination, care and presence.