Statement
My ceramic vessels and sculpted heads unfold within what I call Intersentient States - works that hold a charged ambiguity, where form appears to listen as much as it speaks. They belong to a lineage that glances toward Hans Coper’s austerity, Kamoda Shōji’s textured asymmetries, the sculptural force of Elizabeth Frink, and the distilled geometries of Ben Nicholson, yet remain their own. The vessels are not containers in the utilitarian sense but presences that test how far matter can lean toward sentience. Their forms are poised, sometimes austere, sometimes lyrical, yet always unsettled - holding something withheld, something unresolved. To encounter them is to enter a dialogue that resists easy conclusion, a dialogue sustained as much by silence as by statement. The enquiry extends beyond ceramic vessels into my sculpted heads and paintings, which pursue the same conditions of resonance. Across these media, the constant is an insistence on singularity: works made not only for repetition towards refinement, but for presence, each carrying its own authority, its own voice. What remains is elusive yet hopefully compelling - objects that linger in memory, charged with the possibility of recognition just beyond reach.