This new body of work has been inspired by many recent visits to Hereford Cathedral, which I have been rediscovering. The skills of the craftsmen who created this work of art and that are also being matched in the restoration work is something I try to replicate in my own work, all be it on a smaller scale. I can be influenced by one stone in the building, a group of arches or the patterned ceramic floor tiles and this may manifest itself in a three dimensional form or surface decoration.
The figures have been developed by also looking back in time to classical sculpture and the work of Rodin as well as the contemporary work of Anthony Gormley. The environments Gormly sets his figures in have been a catalyst for the juxtaposed figure to the architectural form. I like to play with how the human body may interact with different forms in every day poses or performing contemporary functions.
The complex surface decoration which may require up to five firings has been developing over the last five years, by looking at contemporary painters, ceramic and textile surface patterns. I also tap into the blue and white tin glaze tradition of earthenware ceramics, with my top firing temperature being 1120 degrees. I will use slips, oxides, under glazes, glazes, enamels and lusters to achieve the desired effect. With this type of finish I am trying to recreate the same qualities as the antique collections in museums that I have looked at many times where there is not one particular piece I am drawn to, but the shine, colour and feel of the whole display.