In ceramics, clay and fire are the authors, and the kiln is the stage on which that performance takes place. Rather than controlling the material, I arrange the conditions and listen carefully to the story it wants to tell. The unpredictability comes from the tension between different shrinkage rates and the force of fire, so sensitivity to the material's density, moisture and rhythm is essential.

Matters grows directly out of Migration. I adopted the canvas format to explore the painterly possibilities of ceramic materials more actively. Working across a stable, expanded surface, I observe the events that emerge through the material's own response to changes in additives and firing conditions.

In my work, material behaviour matters more than final form. I use test pieces as my sketches. For Migration, I build a low-shrinkage coarse clay framework and wrap it in multiple layers of high-shrinkage porcelain. As the piece dries and fires, the two clays collide, crack and push against each other until each finds its final place.