Many things can affect trajectories my work might take. Occasional writing about my own work and the work of colleagues , researching and lecturing about historical and contemporary ceramic art practices, reading novels, gardening, bushwalking, travel, music, dance, art and conversation all play their part.

Surrealist poetics about found and assembled objects inform my work with ceramic genres such as figurines and container forms and their relationships to social practices and the figure/body. Vase forms enter here as dynamic containers that hold water and plant matter. Through human gestures of collection and display, vases can critically link external gardens and landscapes with interior spaces.

Ecological ethics and social history inform my investigations into ways to represent and critically engage with cultural attitudes to fundamental environmental processes that underlay the appearances of landscapes.

In my installation work, I adopt the terms yard work and room work to define situations and sites where formal geometry that is used to locate objects in place and in space may be ruptured by idiosyncratic and intuitive operations. These operations propose viewers to be player/participants who draw out their own spatial and social networks within and without the installation.