An ever changing selection of photographs from my Instagram feed.
You can also find more pictures on my Pinterest, so please follow along there too!

A mug with a simple pulled handle, which is really the only method I’ve been using since I learnt that technique. It’s fluid, fast and I think it’s a method that produces a join that seem the most natural. It doesn’t look like
Two of my shelving banks in the studio, make sure you swipe to see the seamless transition between them. It’s amazing how quickly the pottery fills up, two weeks of making and almost every surface is packed pull with rows of cups, piles of bow
A stack of three nestling bowls in my trio of glazes, they’re muted tones, dotted with iron that bubbles to the surface when the kiln is set into reduction. My reduction process lasts for approximately 5 hours. The kiln is starved of oxygen as
Freshly thrown jars, lids and bodies plucked off and set aside in neat rows to slowly turn leather hard and put together, and in the second photograph some finished, assembled pieces, with two jars marked with lines traversing both sections, which I
A view of the kiln, still cooling before it can be unpacked. Even with the door swung open it takes a while before I can handle the pots on the upper shelves. I unpack everything in order, from bottom to top, each layer laid out onto two ware boards,
Wheel thrown ink dip pens with their rests above. The little blocks are extruded as long lengths, then cut to size, fettled clean and stamped with my maker’s mark underneath. The last time I made these I must have made about 250, enough to last
A lined vessel, more angular than most, marked with a line that travels from the rim downward. The rims of my pots coated with the dark green crackle glaze always break to reveal a wonderful, almost metallic orange hue and this sharp protrusion on th
My current setup. I’m always inundated with questions about which wheel I use, at the moment it’s a Rohde HMT500, but over the years I’ve thrown on dozens of different makes and models. As some of you may know, earlier last year I a
Recently made and fired coffee cups. These are on the agenda this coming week, a batch of sixty or so. The thrown form of these are easier to make as compared to my normal mugs but the handles are much more fiddly, they are finer, thinner and attach
Three tall bud vases covered in my white, pale green and my darkest green crackle glazes. Fired in my gas kiln for nine or so hours to 1290ºc, or for the potter’s reading, I try to put cone 10 flat. The first 4 hours of the firing I just
Bowls, freshly thrown and fired. These two pictures show these pots in their most fresh state, just thrown from soft high iron stoneware clay and the other, reduction fired and set in stone forever. I’ve made and turned 100 of these over the
Two close ups of the same mug, thrown with a step in the body that’s turned even sharper once leather hard to allow the glaze to pool and break over. I only made a small batch of these, the next iteration will undergo some changes in proportion
Mugs are such an important part of most potters repertoire, they encapsulate a potters style in a single vessel and are often the gateway drug for collectors, who start with mugs before moving on to other types of pots, it’s certainly what I di
A new teapot, gas fired in a reduction atmosphere to 1295ºc with ledges and sharp edges surrounding the vessel for the glaze to break over, revealing the brighter orange tones of the iron rich clay beneath. The little pierced hole in the lid is
A photograph of pots that are now all packed away and ready to ship. Half of everything has already been sent out, some is arriving with people today and everything else will be picked up tomorrow, mostly orders to the USA and Canada and one to Macau
Ink dip pens, thrown off the hump and trimmed on the wheel too before being hand drilled to exact size that’ll fit the metal ferrules, accounting for how much they’ll shrink from wet clay to high fired stoneware—my clay shrinks abou
Before and after, swipe to see the fully glaze fired view. The first image shows the kiln fully packed and ready to fire up to 1295ºc or so, or if you’d go by cones, I try to melt cone 10 all the way over, and as you can see in the second
Stacks of bowls, small in front and medium behind, coated in either a grey-white, pale green or dark green crackle glaze. These are gas fired up to 1295ºc or so over a period of about nine hours. Simple pots really, only clay and glaze, the form