Resume
Exhibitions
2025
MA Show, PR1 Gallery, ULAN, Preston.
CCA, Clitheroe.
UClay Ceramics Exhibition, PR1 Gallery, UCLAN, Preston.
Ceramic Wales, Dodrhyddan Hall.
Art Open 2025, Blackburn Museum & Art Gallery.
2022
Cupola Gallery, Sheffield
Art Open 2022, Blackburn Museum & Art Gallery.
2000
Christie-Wild International, NYAD 2000, New York, USA.
1999
The Crescent Arts Gallery, Scarborough.
1998
Bluecoat Display Centre, Liverpool
Platform Gallery, Clitheroe.
Haworth Art Gallery, Accrington.
Cutting Room, Leeds.
Stockport Art Gallery, Stockport.
Fisherton Mill Design & Contemporary Crafts Emporium, Fisherton.
Art Connoisseur Gallery, London.
1997
The Gallery, Masham, North Yorkshire.
Art & Design Movement, Leeds.
Godfrey & Twatt, Harrogate.
Cupola Gallery, Sheffield
1996
Solo Exhibition, CCA Galleries, Bath.
Solo Exhibition, Cherry Orchard, London.
1995
Unit 2 Gallery, Norfolk,
CCA Galleries, Bath.
Open Studio Exhibition, Windows Art Centre, Bath.
The Fringe Art Fair, Bath.
Christmas Show, CCA Galleries, Cambridge.
Bizart, Walcot Chapel, Bath.
1994
Degree Show, Bath College of Higher Education, Bath.
Young Designers Exhibition, Business Design Centre, London.
Glastonbury Open, University of Avalon, Glastonbury.
Art School Show 1994, Ceramic Review, Sept/Oct.
Christmas Show, CCA Galleries, Bath.
1993
Ceramic Contemporaries, V&A Museum, London.
Teaching
2021-2022
FE Lecturer Arts & Design (2001-2022) & BA (Hons) Fine Art Lecturer (2017-2022)
During this period, I gained experience working with a range of learners from level one to Degree, teaching a range of subjects including 3D, IT, printmaking, graphics, photography and fine art.
Academic Qualifications
1991- 1994 - BA (Honours) Three Dimensional Design: Ceramics, Bath College of Higher Education: Upper Second: 2:1.
2011-2012- Foundation Degree of Arts in Photographic Media, The University of Lancaster: with Commendation.
2023-2025 - MA Ceramics, University of Central Lancashire: Distinction.
Artist Statement
I’ve always been interested in the democratic credentials of clay, how it infiltrates every household be in functionally or decoratively. How it tells our stories be they royal, revolutionary or everyday quiet commentary.
My practice revolves around storytelling, with the present body of work inspired by table manners and the numerous systems and traditions in place regulating dining. Anchored in tableware but resisting functionality, a visual language has been utilised that is purposefully quirky and playful. The illustrations are more concerned with symbolisms, a kind of hieroglyphic, than some grandiose pictorial reproduction.
The narratives surrounding etiquette and expected behaviours are nuanced and these pieces attempt to capture the complexities of these social systems. Visually represented by layers of symbols, images, marks and text. The complexity of the illustrations speak of the complexity of the internal dialogue that permeates our sense of self as a cultural construction.