Searching For a Shape


About Craft Union

As a potter making functional work, I am challenged by both aesthetic, and ergonomic considerations. A robust pot that works well is more likely to be used on a daily basis. That means paying particular attention to lids, spouts and handles, important details that can make handmade pots a pleasure to use. The accessibility of a functional craft object that can engage the user on a daily basis is an important aspect of my practice, and with a relatively small investment the user can own a small piece of daily, useful art.

I want my vessels to have volume, a generous space that alludes to their ability to contain and nourish, and to have gesture and subtle anthropomorphic qualities that imbue an energy and fullness. I am interested in surfaces that invite touch and exploration; texture as pattern, contrasting matte and gloss surfaces, marks left by the firing process. I often work in small editions, making each piece by hand allows me to constantly refine designs. The forms evolve slowly through reflection, observing the pots in a group, comparing proportions and surface quality. I prefer traditional atmospheric firing methods, such as wood and salt firing, methods that physically touch and impact the work.

The Craft Union strives to keep traditional domestic design relevant in an increasingly fast-paced society. Handmade objects take time. They connect us to each other and are a physical manifestation of the makers time, skill and energy. Influenced by historic pots and their ritual use,  a more contemplative object can provide a moment of reflection and connection. A link to the past, and an  intimate moment in the present, shared with family and friends. 

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