Sitting off one of Melbourne’s cobblestone laneways, my North Fitzroy studio is modest but inviting – a place to spin the wheel in concentrated solitude or engage with fellow potters and students.


A studio is a place to create, and my kiln a way to test and realise those creations. In one space there's room for conceiving, drawing, throwing forms and glazing my work or the work of others. In another sits the kiln; which akin to a child, requires both tender and active attention. Where – if successful – something magical, transformative and lovely happens.


This is where the work is bought to life, given to the fire and hopefully – but not always – delivers final pieces of thoughtful and understated refinement, and that rare combination of beauty and utility.

I strive to create clean, refined forms with elegant and beautiful proportions.


One of my earliest memories is of squelching a handful of clay. And growing up the art of making and a fascination with shape, colour and composition has been ever-present. I was heading toward a career in fine art, but like many of us, took the off ramp to a safer profession, Graphic Design; a profession where art and commerce merge and where the traditional and innovative are celebrated equally.


After practicing for 15 years as a designer in some well-known design agencies and working for myself for a time, I came full circle and leapt at the opportunity to once again squelch my hands in clay. This time it was with porcelain and blends of terracotta informed by a deep love and appreciation of design striving for the never, or rarely achieved, triumvirate of perfection of form, texture and colour, coupled with a hint of the casually informal.