Travel, Research & Inspiration

Travel has become an important part of my ceramic practice. Through visiting kiln sites, working with other artists, and spending time in communities shaped by clay, fire, architecture, landscape, and material culture, I continue to expand my understanding of what ceramics can hold.

My travels are not separate from my studio work. They inform how I think about form, surface, atmosphere, labour, and place. I am drawn to environments where making is embedded in daily life: where materials are gathered, processed, fired, repaired, used, and passed between hands.

India has been especially important to this research. During my time training at Golden Bridge Pottery in 2024, I was immersed in a disciplined studio environment that deepened my understanding of production pottery, repetition, skill, and long-term commitment to craft. Beyond the studio, India offered an intense visual and material field: architecture, markets, temples, landscapes, colour, heat, dust, texture, ritual, and the visible presence of handmade objects in everyday life.

These experiences continue to shape my work. They have influenced the way I look at surface, pattern, proportion, atmosphere, and the relationship between object and environment. They have also strengthened my interest in ceramics as a practice built through community, mentorship, travel, and shared knowledge.

Alongside my time in India, I have travelled to learn from artists, visit historic kilns, participate in large-scale firings, and understand different approaches to kiln building and ceramic culture. These experiences have helped me see firing not only as a technical process, but as a social and cultural one. Kilns bring people together through labour, timing, trust, endurance, and exchange.

The images in this section document places, objects, textures, landscapes, studios, kilns, and communities that continue to inform my work. Some are direct records of training and firing; others are fragments of visual research. Together, they show the wider field of influence behind my ceramic practice: historic kilns, regional craft traditions, architecture, landscape, material surfaces, and the communities that gather around clay and fire.