My particular interest began with the lines, folds and forms of the human body and how these are continually changing. I have long been fascinated by the sensuous qualities that our bodies possess, and often portray areas of the body that are not normally associated with these attributes.
I design pieces that signify the warmth and softness of flesh in a material that is by nature hard and cold, creating a piece of silverware or jewellery that is tactile, sensual and invites interaction. I aim to emphasise the natural qualities of the materials I use whilst pursuing nature, flora and fauna within a vernacular context.
I am interested in the similarities of the recurring forms and shapes that appear within the natural world and human body. As my work has developed over the years, I now find it difficult to differentiate between the sources of my inspiration. The vessels are often ambiguous in their final outcome: appearing as human form and bearing similarities to forms found in nature; and yet sometimes they are illustrative, describing a particular place, feeling or object.
I am fascinated by the marriage of organic and structured form and I seek to create a union between the two, such as in my Square Fruit Bowls and Square Folds Neckpiece. Recently, I am increasingly influenced by my surroundings in Cornwall, and have become interested in the idea of the body as a landscape. My boxes, sculptural rings and brooches represent a small section of the female body and a piece of the wider landscape, contained within specific dimensions: like a canvas, or a geological core sample.
I create bowls and vessels by raising and sinking flat sheets or discs of silver, using a variety of metal and wooden hammers and stakes. I often work intuitively with the material, responding to it as the piece takes shape. The spontaneous nature of this process means that each piece is unique and sculptural.
Unlike other artistic materials such as clay, textile or paint, the material is precious, with intrinsic value, whilst also having an environmental cost. The techniques are time consuming and labour intensive, a labour of love, sometimes taking weeks or months to create a single piece. This all culminates in a design ethos within my work that means I cannot justify making something that is neither useful nor beautiful, something with which I hope admirers of my work would identify.