I am a ceramic artist based in Margaret River, working primarily with porcelain alongside locally sourced wild clay. My practice explores memory and the shifting nature of belonging, expressed through organic forms that draw on the language of seed pods, bark, and other natural structures.
Porcelain, for me, carries a quiet sensitivity. It records touch, pressure, and fracture, holding traces of each stage of its making. In contrast, the wild clay I gather from the Margaret River region brings a sense of weight and grounding. Working between these materials allows me to navigate a space between fragility and stability, displacement and rootedness.
My process often involves casting and reassembling forms, allowing fragmentation to become a method of construction rather than loss. These forms are not fixed representations, but evolving states—suggesting growth, erosion, and the subtle transformations that occur over time. Through this, I am interested in how memory is not preserved as something static, but continues to shift, accumulate, and reshape itself.
Recent work has expanded into installation, where individual pieces are arranged in relation to one another, forming quiet constellations in space. In Whispers That Shaped Me, I begin to incorporate light and sound to create an immersive environment that invites slower modes of attention. Here, the work extends beyond the object, becoming an atmosphere—one that holds traces of place, presence, and absence.
Living and working in Margaret River has deepened my connection to material and place. Working within Ian Dowling’s studio has been an important part of this development, not only in refining my technical approach, but in cultivating a sensitivity to the land and its rhythms. This has encouraged a practice that listens as much as it forms.
I see belonging not as a fixed destination, but as something continually negotiated through memory, time, and place. My work exists within this in-between—quiet, unresolved, and still in the process of becoming.