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Fluid Screen has been selected for FRAMEWORK as part of Dundee Design Festival 2024

'FRAMEWORK is a unique snapshot of contemporary Scottish design illustrating the multiplicity of ways that design overlaps and intersects with other artforms and industries'

Dundee Design Festival:
23–29 September 2024 at Michelin Scotland Innovation Parc
Free entry, 10am-6pm every day of the festival

Dundee Design Festival is a regular event devised and delivered by @designdundee. The 2024 edition of @dnd_designfest is curated by @stacey___hunter of @localheroesdesign. UNESCO City of Design Dundee is hosted by @vadundee.

#ddf2024 #DundeeDesignFest

'If there is magic in this world, it is contained in water.’ Loren Eiseley
The turbulent motion of fluids, one of the most complex and unresolved areas of natural science, inspired the making of Fluid Screen. Seventy-two lustrous, translucent Parian porcelain tiles are suspended in a frame to create a freestanding sculptural and functional room divider, allowing diffuse light to pass through and glimpses of the environment beyond. Tiny quantities of metal oxides are mixed with the liquid porcelain to create subtle shifts and washes of colour.The hinged screen frame is constructed from local ash.

See Fluid Screen now @slancha – link in bio

#contemporaryceramics #madeinscotland #porcelain #contemporaryporcelain #madeingalloway #contemporarydesign #handmade #design #parian

Can you find the toucan? Visit FLOCK and see the birds of the world and beyond, all made the hands of the young people of Dumfries and Galloway.
FLOCK at @barwhillanty during @springfling

My work in Studio 68 is alongside FLOCK

Lovely photo by @colinjtennant
#birdsofinstagram #ceramics #publicart

Sieving porcelain slip. Come and see what it's turned into at Studio 68 of @springfling
Alongside FLOCK at @barwhillanty
Open 23-25 May

FLOCK and Studio 68 on the pink route at Barwhillanty Estate @barwhillanty
Spring Fling 10-5.30 23-25 May

#springfling2026 #openstudio #porcelain #ceramics

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Fold and Flow (2026)
Stone circle installation
Granite and carborundum

Conversations with Clay, Gracefield Arts Centre, Dumfries @gracefield_art_centre

I didn’t hesitate for a moment when ceramicist Frances Ross (@francesrossmakes) invited me to collaborate on work for this exhibition. There are many aspects of our practice and thinking which overlap. We both employ a thoughtful, scientific-adjacent approach, firmly grounded in the rural, bold and experimental. We jumped at the chance to work together.

Frances created ‘Earth Bound’, a series of quietly arresting forms referencing exploration and exploitation of the planet, deep time, deep strata, the earth’s slow phases.

She uses predominantly porcelain clay, containing quartz, also a key component in Galloway’s 400-million-year-old granite bedrock.

The granite from Galloway beaches is satisfyingly round from constant tumbling by the tides and currents, a reminder of perpetual, dynamic geology and its unfathomable deep time.

I started to consider the similarities between geological and ceramic processes; at a basic level they both involve changing the behaviour of earth particles through exposure to water, pressure and heat. One earth-driven, one human.

My work, ‘Fold and Flow’, is a granite installation merging the language we use to describe geological and ceramic processes in a perpetual, sculptural poem with no beginning or end. The words naturally fell into a rhythm; cyclical, human and earth-derived, until I could no longer distinguish which words belonged to the earth and which belonged to the potter.

Gradually I began to inhabit the rhythm of ancient granite and clay, the deep time of our incredible planet.
Some of the words stir emotional connection. Fold and Flow is also a loose observation on human behaviour and the way our relationships shift as we move through the world.

The aesthetic contrast with Frances’ work satisfies me deeply - the earth’s rounded pebbles sit calmly and slowly against her deliciously crackled, unpredictable, almost violent textures - yet the circular, cyclical motifs bind both bodies of work inextricably.

Catch it at Gracefield until 2nd May.

Date for your diary... Delighted to be taking part again in Spring Fling 2026. It's Scotland's top open studio event and a great reason to take a break in Dumfries & Galloway! This year I'm on the pink route in the heart of the region. Check out all the 111 great participating artists and makers @springfling
#SpringFling2026
#openstudios
#visitscotland

Delighted that the collaborative work '(Shadow) Tools from a Latent Culture' made by Rachel Ashcroft @woman.of.the.woods and me @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery @maclaurinart in Ayr next month.

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.

#collaborativepractice
#porcelainandburntash
#VAS
#artobject

Delighted that the collaborative work '(Shadow) Tools from a Latent Culture' made by Rachel Ashcroft @woman.of.the.woods and me @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery @maclaurinart in Ayr next month.

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.

#collaborativepractice
#porcelainandburntash
#VAS
#artobject

So pleased to share that the collaborative work between myself @woman.of.the.woods and Frances Ross @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery in Ayr next month.

This body of work is titled (Shadow) Tools from a Latent Culture:

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.
Elements of contemporary and bygone culture are suggested in the forms of each individual piece, hinting at common characteristics in tools and objects used for a wide range of applications – agriculture, construction, beauty routines, health and craft.

Yet the ambiguous anthropology of the artefacts seizes us and transports the viewer to an uncharted realm of mysticism and a deeper, darker place of unknown worship. Are the pieces proposing ritualistic folklore, or are they perhaps a comment on contemporary maker culture? Either way, the viewer is invited to enter into the work and develop their own narrative.

#collaborativepractice
#porcelainandburntash
#VAS
#artobjects

So pleased to share that the collaborative work between myself @woman.of.the.woods and Frances Ross @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery in Ayr next month.

This body of work is titled (Shadow) Tools from a Latent Culture:

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.
Elements of contemporary and bygone culture are suggested in the forms of each individual piece, hinting at common characteristics in tools and objects used for a wide range of applications – agriculture, construction, beauty routines, health and craft.

Yet the ambiguous anthropology of the artefacts seizes us and transports the viewer to an uncharted realm of mysticism and a deeper, darker place of unknown worship. Are the pieces proposing ritualistic folklore, or are they perhaps a comment on contemporary maker culture? Either way, the viewer is invited to enter into the work and develop their own narrative.

#collaborativepractice
#porcelainandburntash
#VAS
#artobjects

So pleased to share that the collaborative work between myself @woman.of.the.woods and Frances Ross @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery in Ayr next month.

This body of work is titled (Shadow) Tools from a Latent Culture:

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.
Elements of contemporary and bygone culture are suggested in the forms of each individual piece, hinting at common characteristics in tools and objects used for a wide range of applications – agriculture, construction, beauty routines, health and craft.

Yet the ambiguous anthropology of the artefacts seizes us and transports the viewer to an uncharted realm of mysticism and a deeper, darker place of unknown worship. Are the pieces proposing ritualistic folklore, or are they perhaps a comment on contemporary maker culture? Either way, the viewer is invited to enter into the work and develop their own narrative.

#collaborativepractice
#porcelainandburntash
#VAS
#artobjects

So pleased to share that the collaborative work between myself @woman.of.the.woods and Frances Ross @francesrossmakes has been selected for the upcoming @visualartsscotland exhibition “Future Folklore” at the Maclaurin Art Gallery in Ayr next month.

This body of work is titled (Shadow) Tools from a Latent Culture:

Delicate porcelain apparatus with rune like symbols etched into the surface contrasts yet connects to the blackened ash forms flowing effortlessly from the instrument to the hand.
Elements of contemporary and bygone culture are suggested in the forms of each individual piece, hinting at common characteristics in tools and objects used for a wide range of applications – agriculture, construction, beauty routines, health and craft.

Yet the ambiguous anthropology of the artefacts seizes us and transports the viewer to an uncharted realm of mysticism and a deeper, darker place of unknown worship. Are the pieces proposing ritualistic folklore, or are they perhaps a comment on contemporary maker culture? Either way, the viewer is invited to enter into the work and develop their own narrative.

#collaborativepractice
#porcelainandburntash
#VAS
#artobjects

Work in progress

#porcelain #ceramicart #ceramicsofinstagram #copper #seaglass

Geese and ducks were a popular choice for Creetown Primary P6-7 class in their FLOCK session. It's not surprising when we hear so much honking overhead at the moment.

#geese #FLOCK #springfling2026
@weareupland@springfling

Geese and ducks were a popular choice for Creetown Primary P6-7 class in their FLOCK session. It's not surprising when we hear so much honking overhead at the moment.

#geese #FLOCK #springfling2026
@weareupland@springfling

Geese and ducks were a popular choice for Creetown Primary P6-7 class in their FLOCK session. It's not surprising when we hear so much honking overhead at the moment.

#geese #FLOCK #springfling2026
@weareupland@springfling

I have work in this exhibition opening next week at Kirkcudbright Galleries. Come along and see an interesting and varied show...

'Common Ground: The Living Landscape is an exhibition that brings together artists and makers whose work speaks to our deep, evolving relationship with Scotland’s natural environment. Through objects, images, and installations, it explores how creativity can reflect, honour, celebrate and reimagine the interconnectivity of Art and Nature.'

#contemporaryart