Making~Intensified Surfaces of a Transdisciplinary Spatial Inquiry.
Morn Hill Archaeological Site~Hyde Artist Collective
My practice begins somewhere between the hand and the structure.
Clay is not simply a material to be formed. It is a body in negotiation: resistant, absorbent, unstable, enduring. Through making, I enter into a process of continual adjustment in which the work is never entirely known in advance. Form emerges through a reciprocal encounter between intention, matter, gesture, tool, surface, gravity, failure, and time.
I am interested in ceramic bodies that begin to exceed their own material designation. Slab-built, perforated, scored, drilled, painted, weathered, and reconfigured, they occupy an unstable interval between vessel, sculpture, architectural fragment, diagram, ruin, and spatial apparatus. Their surfaces become intensified fields of activity. The hole is an aperture; the grid is a structure; the line is a proposition; the surface is a record of becoming.
Making is therefore not the execution of an idea but a mode of inquiry.
I understand the studio as an expanded environment: no longer a retreat from the world, but a site of continuous exchange. Ideas enter through materials, bodies, texts, places, conversations, architectures, and acts of attention. The work develops through an iterative process of monitoring, correction, combination, and transformation.
My site-based practice extends this inquiry into environments and situations. I construct provisional spatial compositions in which craft, architecture, theory, drawing, sociality, and embodied experience become entangled. These works are not fixed objects but relational propositions: spaces for inhabiting, encountering, sensing, imagining, and thinking.
I am interested in what happens when the distinction between object and environment begins to collapse.
A ceramic body becomes a spatial body.
A surface becomes a threshold.
A structure becomes an event.
Making becomes a way of producing knowledge through the material, the embodied, and the situated.
The work emerges through an excess of form: something always remains unfinished, unresolved, overspilling the structural integrity of the object. This excess is not a failure of construction but its generative condition.
I work within this instability.
Between craft and architecture.
Between matter and thought.
Between the body that makes and the space that is made.
Between the object and the world it begins to produce.
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