What was the first object you made?
A knitted bear when I was about five years old. I also made toys from polymer clay, papier-mâché and textiles. These practices still influence my aesthetics and techniques today.
What is your specialisation?
The making of narrative animal forms, which aim to articulate human sensitivity. My techniques have evolved from historic domestic craft, folk art, collage and the tradition of bricolage. My larger works begin with a nichrome wire armature on which I layer sheets of finely cast porcelain.
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What are your sources of inspiration?
My own memories, museum collections, the natural world, historical patterns, making traditions and processes. My work has also referenced the historic tradition of 'collecting' animals, such as medieval illustrated bestiaries and Victorian menageries.
Could your craft be considered in danger?
I am based in Scotland where all specific degree courses in ceramics have now been closed. Despite this, there is an influx of young makers moving into ceramics – perhaps as a reaction to the digital-based world. For this reason, I remain hopeful.