In my work, I look for sharp, crisp lines and flat surfaces. I like contrast of surface texture, of the glazed and unglazed. Using gas reduction firings, I want to show off the clay’s body, which can range from blue-grey to a toasty orangey-brown. I want to see the drama and excitement of the firing, the iron in the clay being pulled by the flames through the glaze or the depth of colour that results from the oxygen being ripped out of the glazes, transforming their colour in unpredictable ways. I first came into contact with clay was during my degree in Japanese whilst studying near Osaka. We studied language in the morning and we were free to choose cultural modules to fill our afternoons. Having never given much thought to ceramics, I was excited to get my first choice on the oversubscribed “Japanese Pottery” class. I found I was able to express myself and ideas in new ways and I still get excited about what’s achievable through clay. In Japanese culture, there is a sense of a continuing conversation between modern and ancient aesthetics and with such a strong heritage of handmade craft, people in the UK are coming back to that appreciation. My work speaks of a time, a place and the spirit of the moment when an object is created. It is the moment that exists between the modern technological world we have found ourselves in and the time before.