About…

About why I make these things

I’m an artist living and working in London. I work in ceramics and on paper, and most of my work starts with an interest in people: faces, bodies, hair, clothing, gestures and the small details that give someone their personality.

I’ve always loved ancient Greek and Roman sculpture and Renaissance painting, not simply for their style but for their fascination with the body. I’m drawn to how they observed movement, hair, folds in fabric and the way light plays across a figure. Hair, especially facial hair, and folds have become recurring subjects in my work for much the same reason. I like translating these details into clay, then playing with texture, colour and the reflection of glaze.

I also approach ceramics with a painter’s eye. Light can completely change a face or a fold of fabric, and a piece can look different from every angle. Studying ceramic materials and glaze chemistry with Matt Katz at Ceramic Materials Workshop changed my practice significantly. I moved from using ready-made materials to developing my own clays and glazes, giving me much more control over colour, texture and surface.

My background is an important part of this. I grew up on the edge of the Amazon rainforest, and its intense colours and forms have stayed with me. I also come from a culture where art and ceramics have long been ways of expressing ourselves, telling stories and recording history. Making things feels like a natural continuation of that.

Before becoming an artist, I worked for many years in graphic design and creative direction, including advertising and branding. That background still influences how I think about composition, colour and image-making. I started working with clay in 2013, learning from master potter Stuart Carey and artist Sharon Virtue, and it gradually became my main focus.

Since then, my work has taken me to some unexpected places. I’ve exhibited at the Barbican as part of OpenFest, created an exclusive collection for Liberty London, and had my work featured in Architectural Digest, Livingetc and ELLE Decoration.

I’m not interested in making ceramics that simply look like ceramics. I like the space where drawing, painting, sculpture and ceramics overlap, and where a face, a vessel or a classical figure can become something unexpected through colour, surface and light.