Named for the geological term for a solitary stone displaced from its landscape, Erratic carries the weight and irregularity of weathered rock, while the smoked glass globe introduces a contrasting sense of balance, appearing to rest rather than sit.
Illuminated, the work shifts between sculpture and light, allowing the two materials to define one another.
Cairn takes its name from stacked stones—objects that are both deliberate and precarious, markers of presence within a landscape.
The glaze was allowed to move freely during the firing, revealing its own topography across the surface. Rather than decorating the form, it became part of it. The smoked glass globe completes the composition, introducing light as the final material.
Drift takes its cues from the movement of water—the shifting currents, softened forms and patterns left behind by its passage. The stacked ceramic forms create a sense of movement upwards, while the hand-painted marks echo the changing surface of the sea.
Topped with a glass globe, the work balances weight and lightness, bringing together the grounded nature of the ceramic with the fluidity of its inspiration.
Tarn draws from the meeting of water and stone, where surfaces are shaped by movement, pressure and time. The irregular ceramic form carries the weight and texture of the landscape, contrasted by the smooth glass globe above it.
When lit, the warmth of the globe brings a softer quality to the heavy ceramic form, creating a balance between the two.
Shoal explores the tension between movement and stillness, with a form that gathers and folds in on itself. The undulating ceramic surface creates a sense of movement across the piece, while the dark, mottled glaze gives the form a depth that changes with the light.
The glass globe sits within the ceramic, introducing warmth and softness against its heavier, more sculptural form.
Riffle explores the relationship between movement and form, with stacked ceramic elements that shift in proportion and direction. The irregular edges and layered glaze create a surface that feels shaped rather than constructed, giving the piece an organic sense of movement.
The glass globe becomes part of the composition, introducing light into the weight of the ceramic and creating a contrast between the two materials.
Strata draws from the layered formations of the natural world, where time, pressure and movement leave their mark on the landscape. Three ceramic tiers build the form, each edged with an irregular rim that interrupts the geometry of the structure.
Suspended as a light, the piece brings together the weight of geological forms with the changing movement of its edges, transforming a familiar architectural shape into something more elemental.
Coralline began with the forms of coral growth—layered, irregular and shaped over time. The undulating edges create a sense of movement across the form, while the pale glaze recalls the shifting colours and surfaces of an underwater landscape.
When illuminated, the piece takes on a different presence, bringing warmth to its organic, coral-like form.
Tidal draws from forms shaped by the movement of water, where surfaces are softened, layered and altered through constant motion. The ceramic body is interrupted by overlapping forms that extend from its surface, creating a tension between structure and movement.
Suspended as a light, the piece transforms these organic forms through illumination, casting shadows across its surface and changing their appearance as the light shifts.
Mooring considers a vessel that feels complete before a single stem is placed. Borrowing the form of a resting waterbird, the piece considers flowers not as decoration, but as an extension of the sculpture itself.
Designed for ikebana, the arrangement becomes the final element of the composition, changing with the seasons while the vessel remains unchanged.
Caldera explores a landscape shaped by absence rather than accumulation. The rising rim defines the form, while the central vessel anchors the arrangement within it.
Designed for ikebana, each composition inhabits the terrain differently, altering the work through placement rather than addition.
Littoral places a chessboard at the boundary where land meets water—a place that is constantly defined and redefined. The pieces borrow from eroded stone and coastal forms, while the board imposes a geometry neither landscape would naturally choose.
Through play, the composition is continually rewritten, each move shifting the balance between order and erosion.