Interview

• What is your training background?

  I worked in the fashion industry for 32 years, as a designer and pattern cutter: this is a second career for me. I’ve done many short intensive courses, including a smoke-firing course with Jane Perryman, but I am largely self taught, learning through trial and error.

• How did you choose the Nerikomi technique?

  When I started ceramics I studied every book on the subject that I could find. I came across a picture of an ancient Chinese Nerikomi bowl and started to research Nerikomi and discovered artists like Dorothy Feibleman, Curtis Benzle and Thomas Hoadley – I fell in love with the process.

• Where do you find inspiration?

  In the geometry of patterns in nature. Especially as random chaotic forces, growth, weathering and erosion push the initial perfect symmetry towards imperfection. I’m always exploring this balance between symmetry and asymmetry, trying to capture the imperfect perfection.

• How do you merge tradition and innovation?

  Nerikomi – a contemporary Japanese term – is a marbling technique that was used by the ancient Egyptians, Chinese, Romans and during the Japanese Momoyama period. In the Japanese method, patterns and repetition are perfect: while I allow chance and the subliminal to direct me.