Plinth

Many of the women artists' who inspire you, work across multiple disciplines - from painting, ceramics, product design to sculpture - such as Nathalie du Pasquier in Milan, and also historical figures such as Barbara Hepworth and Frida Kahlo. I wanted to pick up on the idea that you often refer to yourself as a designer, rather than a ceramicist - choosing not to limit yourself to just one discipline. And do you see it as part of your work, to create the environment that surrounds you - whether it’s your studio, home or garden?

It's interesting that you've noticed my absolute fascination with the environment, but you've been to a few of my studios and home studios over the years. I just adore the spaces of Frida Kahlo, Barbara Hepworth's St Ives Garden and studio, Nathalie du Pasquier's studio in Milan. Living and working is inseparable to me and when I'm in these spaces that the women artists have created for themselves, I feel moved and happy.

I was initially drawn to Droog and Michael Marriot as a student but back then, and largely they were seen as industrial designers. Perhaps more now, they are seen more as artists and social commentators. It's been a gradual change but I'm transitioning perhaps to more a ceramicist than a designer. I'm endlessly fascinated by ceramics and its properties, furthering my understanding of the material and endlessly experimenting to best express my ideas. I'm not overly concerned about where I'm placed to be honest. Ceramicist, designer, potter.

In Stoke-on-Trent, you lived in a Victorian cottage garden with a stream and apple blossom trees, and now in London, you have established your ceramics studio in your garden. Can you also tell me more about Japanese homes and gardens – both as places of stillness and sanctuary - and also how the garden is framed and viewed?

My British grandmother went to university to study horticulture and so all the women in my extended family are keen garden lovers. I've come to it very late really, but I'm obsessed by it, completely gripped. I'm not particularly green fingered but the determination for plants and seeds to live, always impresses me - sometimes even if they're in the most difficult of circumstances which I inadvertently put them in. The Japanese arts are on the whole concerned with the seasons as it places you in the moment. I do like my sanctuary and I'm working on growing one. I will soon run out of space in my London terraced house garden.

It feels as is if your work has changed direction over the past few years - both in terms of relocating your studio and also your new work. Do you think you are moving away from product design and exploring more with fine art and experimental design - for example with your new series of Botanical work, drawing with twigs and leaves from the garden directly onto the ceramics, with different glazes?

I've become more connected with the material and crafting objects for sure and I think naturally it is going in the more fine art direction perhaps. Previously I was concerned with working with the industry of Stoke-on-Trent and it was collaboration between design and their skill as makers. I've learned so much from that process but whilst tutoring on MA Ceramics course at Staffordshire university in Stoke, I've come to question my practice fervently and I'm experimenting more and more in my garden workshop and just exploring. I can't say exactly what direction it will go, but I'm happy with the developments - especially the Dahlia plates and bowls. It gave me great joy painting each petal onto a plate.

Now you are back in London, sharing your space with Gus and Yumi - how is it all working out?

I think it's going fine, it's a little different from my solitary lifestyle in Stoke-on-Trent but I'm happy to be back in the buzzy, creative life of London again, and reconnecting with my friends who are also makers here. Of course, now we're mid lockdown it's all a bit intense but I'm spending so much time with my daughter, we are generally fine in this situation, until I read the news and hear of all the horrendous things going on around us.

What have you planted in the garden and what is coming up now?

I have sweetcorn, tomatoes, fennel, Mizuna, potatoes, rocket, cucumbers, gherkin and many more. I also have a new front garden (previously a concrete driveway) and will have pumpkins and courgettes, peas and an explosion of Dahlias. I plan on making an arch for all the growing to be done vertically.

It's not so busy in the workshop since COVID situation, so it has turned into a part plant nursery. Unfortunately, my broad beans failed as the soil I bought at the end of last year was contaminated (I believe) with aminopyralid - it's a weed killer that is in manure often. It upsets me so much that chemicals found its way into my otherwise organic garden.

David Rosenberg of Velorose made the connection between putting your hands into the earth to plant and grow seeds - and also using London clay to make ceramics? Was this at the back of your mind when you started your new Botanical collection?

I like the idea of making clay out of the London clay in my garden. But I started the Botanical collection because I became obsessed with the garden. I stare out at it all day when I'm in the workshop afterall. It just found its way on to the ceramics - just by observing and admiring. It's an old topic, but I wanted to illustrate it anyway.

Since the lockdown, it seems like everyone has been posting pictures of of blossom, flowers and trees on social media - why do you think people are looking to nature at this time?

We've been blessed with good weather, Yumi and I have been pottering away in the garden and enjoying the stillness and a slower pace of life. I try not to read the news now; it takes me back into reality.