Sediment series, 2025

I created a series of pots embedding crushed rocks from different sections of Gullane Bay, attempting to capture the sense of place from which the materials come from. I used the spherical form of the Korean Moon Jar,  translated from “dal-hang-ari” (달항아리), as a canvas to embue a sense of place. Originating in the Choson dynasty (1392-1910), this Jar shape held Confucian ideals with an emphasis on minimalist design; my work reinterprets the form to focus on materiality.

Sediments II, Earthstone black grogged clay with crushed rocks, seashells and found glass, 10 x 12cm, documented at Gullane Bay, 18/11/2024.

Sediment I, Earthenware clay with pulverised rocks and seashells, 17 x 15cm, documented at Gullane Bay, 18/11/2024.

Sandy, earthenware clay with added sand, 4 x 4cm. Documented at Gullane Bay, 18/11/2024

An important part of my process is rooted in embodied walking as a form of research; a way of allowing the places we move through shape our thinking and making. I’m fascinated by how the ground beneath us, and the materials or objects we encounter, can inspire new thoughts, ideas, and directions.

The idea of embedding pulverised minerals into ceramics emerged during one of my walks. I decided instinctively to roll a ball of stoneware clay along the path I take to the coast. It picked up soil, stones, sand and fragments of the ground, acting as a physical record of the journey. 

When I fired the clay, I felt it had not only absorbed the earth, but also captured a sense of time; a trace of the place preserved through transformation. This experiment felt like a breakthrough for me, showing how walking and material could intertwine to archive personal experiences.

Along The Track, 2024

Documentation, Coloured Photograph.

15 cups of hand pulverised rocks from Gullane bay,

20/10/2024.