Everything you see here is made entirely by hand in my studio. I build each piece slowly, using coiling and pinching techniques that allow the form to grow naturally. The process is deliberate and intuitive — a balance between control and letting the material guide me.

I’m interested in the tension between refinement and rawness. Each surface carries traces of the making — small marks that speak of the clay’s nature — yet every line and curve is carefully refined until it feels resolved.

My practice sits at the intersection between contemporary art and ancient craft. The work draws from traditional hand-building methods but is shaped through a sculptural language rooted in rhythm, structure, and organic growth.

I work mostly with grogged stoneware, shaping each sculpture gradually through many stages of building and refining.

The surfaces are often left unglazed so the raw clay can reveal its own tone and texture. In some pieces, a selective use of glaze brings depth or contrast, but the focus always remains on the structure and the material itself.

Material and process

As the forms develop, I refine the surfaces to bring a sense of clarity and elegance while leaving subtle marks of the making visible.

Those traces are important to me — they connect the finished work back to the process, to the rhythm of touch and time that defines each piece.