'We engage in the creative process to become more of whom we'd like to be and, just as important, to discover more of whom we might become. We make things because we enjoy the process, but our underlying intent, inevitably, is self-transformation.

(...) However humbly, we are participating in the ongoing, communal project of mankind to narrate what it means to be human, how our universe works, and how we should live.' (‘Why we make things and why it matters’ by Peter Korn)

BRUMAS (2018)

My initial plates have evolved from ‘An Interpretation of the Way of Tea I’, leaving behind their domestic function.

Although they now are purely decorative pieces, they still have a function: that of visual delight and aesthetic pleasure, like the most powerful stormy skies.

In a society that imposes productivity and functionality, we tend to value more those things we can use and those of us who do and produce the most.

As a maker, I have been heavily influenced by this capitalist way of understanding the world. I struggled to appreciate the value of decorative pieces - one of visual delight and aesthetic pleasure - and therefore my first pieces had multiple functions. These first pots were a metaphor of us, human beings, becoming ‘human doers’.

The Brumas collection was born of a desire to take a step back, leave the doing behind and embrace the being.

This collection comprises wall surfaces of 44cm diameter and triptychs of both my regular surfaces, as well as vases. Some of these pieces were exhibited at the London Art Fair (January 15-20, 2019) and Edinburgh Art Fair (November 21-24, 2019) represented by Thrown Contemporary and Doddington Hall Summer of Ceramics in Lincolnshire (July-August, 2019)

Triptychs and the power of storytelling.

Having an increasing control of the marbling technique, I now can artistically express what I visualise. I have been obsessed with skies and storms for a while and now I can better translate what my brain sees into my work.

Each piece in the collection is powerful in its own right. However I find the triptych to be the best format for rounded storytelling, conveying the power of the storm and the motion of the skies.

The shift from 2D to 3D sees gravity operate in an entirely different way. There are many more subtleties and surprises. The paths to take and tales to tell are endless, their power to communicate and to move the admirer limitless.

Details on measurements, prices and points of sale available here.

Triptych I. ‘The clouds never expect it when it rains. But the sea changes colours. But the sea does not change.’ (2019) ⌀29cm — Triptych I. ‘*The clouds never expect it when it rains. But the sea changes colours. But the sea does not change.’* (2019) ⌀29cm