The beauty in ageing and natural decay forms the basis of my inspiration. I am drawn to architectural ruins, weathered walls, fading wood, peeling paint and anything that bears the mark of time. Life is organic and I like to preserve that quality in my work as well. I use ceramics to make surfaces that are a raw reflection of the way nature works - that expresses that ageing is inevitable and hence should rather be embraced.
Though aesthetically pleasing, my pieces are suggestive of passage of time and deterioration, encouraging personal interpretations from the viewer. They seek out imperfection, exposing the wear and tear in design, to look like they are disintegrating or in a state of flux.
Trained in Textile Design from Chelsea College of Arts, London, a lot of my decorative imagery and surface treatment comes from my textile background. I use details like floral patterns, prints and fabric impressions on clay. There is a soft underplay of the concept of duality in my work- feminine floral patterns on masculine forms, fragility verses resilience, broken vessels that cannot contain or juxtaposing the soft and the tactile quality of textiles with the strong and tough feel of ceramics.
My process is mostly intuitive, creating layers of information using various techniques and experiments, to intensify the details and complexities in design. The use of color, texture and form in my work is strongly influenced by the Japanese aesthetic of Wabi Sabi, a timeless idea that honors all things old, weathered, imperfect and impermanent. As a result, marks, creases, joints, rustic edges and subtle colors are characteristic of my work.