For the first show of my own new work in a couple years, I’m delighted to present my latest - fresh out of the kiln - new work that has emerged from the fleeting hours I’ve spent alone in the studio over the past months. Like many artists & business owners 2021 (not to mention 2020) has been a year of scrambling, keeping things going, being available to adapt to a changing situation.

My work in 2021 has been about finding time to work, about resting and collecting the energy to work, and about encountering that objective quiet that real studio work requires, and, on a good day, creates as you go.

This year I often spent a full day with students & wrangling the demands of the business, then attached another day (usually night) onto the passing one and retreated to my private studio to really work, and as I did I thought a lot about the first years I spent in the studio, when the objective quiet, the calm order that allows forms in clay to just move out of your hands and into the kiln, came so easily.

I used to have a lot of time. I was already looking back when starting out in clay - clay was about time, back then, and was about what is past, and the presence of the past and the potters from before. This show of my latest work looks back, revisiting some of the first pieces from the first kilns I fired. I tried creating some of those early forms again, and, more elusive, tried creating that same objective quiet I used to have so much of, that innocent and infinite-feeling experimental way you work when you have no idea, and nothing but time, and you’re just working, day by day.