Many practising artists become familiar with a certain way of working.

We’ve mastered the techniques, kiln firing, material response and within reason have eliminated the continual experimenting, knowing our hours of toil will result in a substantive final result. Therefore, stepping into the unknown becomes increasingly daunting.

The Quenington bursary enabled me to jump into unfamiliar territory and push the boundaries of my practice further.

Without a doubt creating my sculpture had its challenges. However, in order to eliminate potential disappointment, I carefully tested clays and glaze surfaces before starting my final outcome.

The freedom of working on a larger scale was liberating. Moving, pushing, pulling the clay became an immersive process creating an emotional connection between body and material.

Combining different clays, a heavily grogged exterior wrapping itself around a fragile porcelain interior my aim was to encapsulate human vulnerability, creating a piece that expressed both protection and fragility.