Originally trained as a Fine Artist I came to Ceramics only recently and was immediately attracted to its hands-on and embodied aspects. There is a physicality in the process of making, as there is with mountain biking, and the shaping by hand and use of repetitive motions is central to my practice. Mountain biking began in Northern California in the 1970s, around the time I was born, whereas the Art of Ceramics dates back Millennia and is mostly associated with the Far East.

 

Despite these contrasts I find a connection between the two practices and my experiences of racing Mountain Bikes at an International Level influences and acts as a framework for my practice. Being immersed in activity allows for a sensation of being in the moment which is heightened by the physical connection to material. As with biking I respond to the fluidity of material, to motion, to time and feelings. As I gain experience I build a relationship with material: a tactile and embodied connection which effects my mindset just as my mindset will affect the way I experience the material. The narrow base allows for an even stronger connection with the characteristics of the clay, it challenges me, slows me down taking me to another mindful space. The vessels’ form and surface are both key elements, as are topography and soil when biking. My forms are shaped by the repeated action of my finger and thumb, reflecting the energy of the making and at the same time revealing the rhythm, a flow state of mind.