Ten years of working with clay, from the first wobbly thrown bowl to wood-fired installations. This page is a record of that path: the kilns I have built and fired, the glazes that failed before they worked, and the quiet decisions that shape every piece that leaves the studio.
Ceramic Artist & Studio Potter
Independent studio practice based in Pretoria, working across sculptural vessels, functional tableware, and site-specific installations.
Member since2014
Studio locationPretoria, GP
Workshops held18
Your profile, studio records, and recent activity in one place.
Projects
24
Documented works
Exhibitions
9
Regional galleries
Shop items
12
One-off pieces
New piece added to shop
Ash-glazed stoneware mug, wood-fired
Workshop completed
Beginner hand-building, 6 participants
Exhibition documented
Clay Memory installation, Gauteng
A running record of firings, exhibitions, and workshop days that shape the practice. Dates are kept loose on purpose; what matters is the sequence of experiments and the lessons each one left behind.
October 2024
A six-day firing with eucalyptus wood from a local sawmill. The ash glaze series came out with heavier deposits than expected, especially on the shoulder of the tall vessels. Notes from this run changed how I stack the kiln for the next season.
August 2024
Three sculptural vessels from the ash glaze series were included in a regional ceramics survey. The curator placed them next to a collection of historical stoneware, which made the surface textures read differently than in the studio.
May 2024
A four-week Saturday class covering pinch pots, coil building, and slab work. Twelve participants finished the course, and three have since returned for open studio sessions. The format will run again in early 2025.
February 2024
Started a new body of work with translucent porcelain and low-relief botanical carving. The first batch of plates warped in the glaze firing, so I adjusted the clay recipe and the drying pace. The current collection comes from the second and third attempts.
November 2023
A short talk on the relationship between throwing technique and surface finish, with a live demonstration of trimming a foot ring. The audience questions focused on how I source local clays and why I keep some pieces unglazed.
July 2023
The first visit to what would become the Clay Memory installation. I collected clay samples from the old pug mill area and spent the afternoon photographing the kiln ruins. The material connection to the site shaped the whole project.