


Sprig bowls
Bowls that look a bit like the decoration was stencilled on. But they were painted.
Earthenware with coloured slips 2021
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Bowls that look a bit like the decoration was stencilled on. But they were painted.
Earthenware with coloured slips 2021


Here’s a curiosity. I found I could make something resembling a grey stoneware glaze by putting a tin glaze over black slip, and painting in oxides underneath. I didn’t take this much further.
Earthenware 2021



A friend had an Italian woven bowl. I was intrigued, wanted to work out how you make such a thing. I worked that out. I thought it could be a success. I made quite a few. It didn’t catch on. It sank back into neglect. But I still believe in the woven bowl. It will have its day.
Earthenware 2022




I made quite a few vessels that were a cross between an aubergine, a pig and a bath tub. Often divided into two sections, I got the idea from a pot I once bought in a Japanese shop in Old Brompton Road. Probably it was designed for some very particular dish, but it looked ideal for
pistachio nuts and their shells, or olives and stones. Anyway I enjoyed pinching them (I pinched the idea, and also the clay into shape) , and I liked the idea of for once selling a pot whose purpose seems to the customer both specific and obscure.
Earthenware. 2022

Painted near Llanstephan around 2010. Which way is it flowing? Right to left. Gouache on board.

Near a place called Ireland. A place I like, with a mysterious spring fed pool, which is why the birds are red. Oil on board 2017.

One of those non places where you don’t really want to know what goes on. And where you’re excluded by that ugly form of fencing, the chain link. Nice to paint though. Oil on board 2017

Wallace Stevens’ Anecdote of The Jar. But in my version the wilderness is indifferent and a dinosaur digger comes down. A version of Auden’s ‘poetry makes nothing happen’. I’ve always felt pottery has a hard time holding its own, outside the home. Plus I had a workshop for years in a boatyard where boats were being swung around by a crane and my pottery felt no match for this hardware.
Actually what can face up to the digger and the chainsaw?

Retiarius, the wielder of the net in the Roman army. Oil on board 2017.

Hogweed below the barn where my pottery is. Oil on board 2017.

Oil on board 2017. A sacred well near St David’s, reimagined.

Oil on board 2017. Thomas Hardy’s poem : ‘While mid my page there idly stands / A sleepy fly that rubs his hands’.

2017 oil on board. The village street Gladestry in the rain.

Oil on board 2017. I always like a good dungheap. Unlike Monet and his haystacks, I did not paint it at different times of the day.

2017 painting of the lane above the house. Oil on board.




Tin glazed ware. It worked for a while and then it didn’t. It was a good glaze with just the right amount of blurriness. Then mysteriously it started going all runny and so blurry the pattern was indecipherable, so after many recovery attempts I gave up. It sometimes happens.


Octagonal coffee cups. Slipped earthenware with coloured glazes and wax resist. The cups hand built using a wooden mould. From 2012





I made quite a few scalloped jugs. I was thinking of certain glass water jugs, and maybe ancient Roman glass.



Scalloped bowls. Slipped earthenware. People sometimes asked me do you use a mould? They were always thrown on the wheel and altered using thumbs and fingers.

Green fluted bowl about 23cm across. Slipped earthenware with green glaze on top.

Green speckled coffee pot with scalloped sides. Made in the 1990’s at Eel Pie Island



Thrown earthenware vase with pulled handles and thrown foot.
Buff background with marbled blue and ochre slips.
Height 13cm
Diameter 16cm



Thrown earthenware jug with white slip background inside and out.
Decorated with painted slip flower design.
Height 9cm
Diameter 13cm



Thrown earthenware.
Buff background, painted blue flower decoration. Glazed base.
Height 18.5cm
Diameter 10.5cm