I was struck by its versatility, its potential for ideas and its complexity when fired and the myriad number of methods that are used to build, impress, shape, coat and colour it.
The work has ranged from figurative subjects, stylized and realistic to abstraction, through to comic forms – human, animal and bird studies and random sculptures because I liked the drawings.
I have had many fine teachers, many opportunities to see historical to current ceramic collections and practices in eight countries and to meet and work with world-leading ceramicists along the way.
As I still feel the potential ahead, there is no reason to stop my practice. I will be working in clay until the moment it becomes impossible for me to continue.