My current direction of visual inquiry of large porcelain vessels inlaid with intricate illustrations of botanical species invasive to the region embody my evolving understanding of the dichotic land and society that plays host to my practice.
This work is created using traditional methodologies and materials from my BA education under ceramic masters at Edinburgh College of Art, Scotland. The use of highly technical porcelain vessels as canvas in these works references the industrial production processes and imported European and Chinese materials used during Gold Rush era Ballarat alongside a nod to the rich kaolin mines of Snake Valley.

The works are created on a potter's wheel and take many days to complete, after a delicate balance of manipulating the temperamental porcelain into gravity defying forms the vessels are dried extremely slowly in a controlled environment. As the forms reach the 'leather hard' stage of drying they are coated with a layer of wax and a delicate illustrative process called 'mishima' is applied to the surface. Using a fine needle a complex line drawing of botanical species invasive to the region is carved through the wax. These species hold a symbolic power within my own culture of strength, resilience and connection to land and thus hold a dichotomy of values I seek to understand.

A black underglaze is painted onto the linework and the excess gently wiped away. This inlays the colour into the carved lines leaving them flush with the clay surface of the vessel. The porcelain vessel is then fired to 1000 degrees, the surface is refined and fired again to maturity at 1200 C.