About Me

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My ceramics practice begins in the landscape itself. After working primarily with commercial ball clays for over 15 years, I have gradually shifted toward collecting and working with local wild clays. In recent years, I have gathered small quantities of clay—both self-collected and generously donated—from Dartmoor, Mid Devon, and the ball clay mining areas of Devon.

I am endlessly curious about these clays. Each behaves differently, carrying its own geological history, mineral content, and colour. I carefully clean, refine, and sieve the raw material before using it in its natural state or transforming it into terra sigillata. Much of my experimentation focuses on layering these ultra-fine slips to create nuanced colours and surfaces, allowing the clays to interact in subtle and often surprising ways. Used alone or beneath glazes, they produce soft sheens and quiet depth.

The vessels themselves are formed from Cornish clay or selected local clays, keeping the material at the centre of my work. Surface decoration is further shaped through atmospheric firing techniques, including saggar firing and horsehair raku. In saggar firing, ceramics wrapped in natural materials gathered from Dartmoor and the Devon coast are sealed in a gas kiln for a slow firing. As these materials transform, they release colours, patterns, and textures that infuse the pottery, creating surfaces that are unique and impossible to replicate. Each piece carries a deep connection to its origin, imbued with its own distinct character and story.

The potter’s wheel captivates me. The tactile experience of shaping clay is both physical and meditative, creating a dialogue between maker and material. The challenges of throwing drive me to constantly refine my technique and explore new possibilities, and the wheel allows me to experiment with forms inspired by Greek and Roman vessels as well as traditional Japanese and Korean shapes.

Living for many years in a traditional pottery region in Japan profoundly shaped my approach to ceramics. Running a small English school, raising a family, and being immersed in a community where craft, land, and daily life were intertwined deepened my appreciation for process, imperfection, and natural materials. Upon returning to the UK, I was fortunate to continue learning—training with raku potter Bruce Chivers, assisting potter Penny Simpson, and practising largely through self-directed making.

My work reflects a deep connection to nature, material, and a slower, non-consumer-driven way of making. Each piece is a record of place, process, and ongoing experimentation—an expression of curiosity, respect for material, and the landscapes that continue to inspire my practice.

Image: Suzy Bennett Photography for Period Living Magazine 2023