I had played around with clay and glazes but had never really been involved with ceramics until a 3-month residency at ekwc (European ceramics work centre) in Holland early in 2009. It was the midst of 2007/8/9 Great Financial Crash and we watched Obama being inaugurated on TV.

Clay is such a lumpen material, damp and heavy, yet it is capable of being transformed by fire into objects as diverse as porcelain teeth and fine teacups to pedestrian terracotta plant pots and the ubiquitous factory white bathroom tiles.

Made from slip cast porcelain, I wanted to it to do what most ceramicists don’t want their work to do: crack and distort in the kiln.

To make a slip cast for, you fist make a plaster mould and then leave it until its bone dry. The dryness is necessary to absorb the water from the liquid porcelain that your pout into the mould once it’s prepared and carefully put back together. All holes and seams must be sealed with clay but the clay should not touch the porcelain. You then pour the clay in, will it around so that the whole of the inside of the mould

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