Rhythm drawn into clay.

Spiral begins with rotation. While the clay moves on the wheel, a continuous sequence of fine ridges is drawn across its surface. Light settles differently between each line, giving the otherwise restrained silhouette a quiet sense of movement. Left unglazed, the cream ceramic body reveals the material in its most direct state. The same rhythm continues from the vessel to the accompanying honey dipper, allowing two functional objects to read as a single composition.

A surface shaped as much by fire as by hand.

Gold explores the relationship between an irregular ceramic surface and a metallic glaze developed in the Nero studio. The textured stoneware body creates small variations in depth. During firing, the glaze moves across these irregularities — gathering in some areas, thinning across others. The result is never completely uniform. Gold, bronze and darker tones appear according to the surface and the direction of light, giving each object a character determined partly by making and partly by fire. Presented as a floor vessel and a ceramic lamp base.

One form. Four expressions of earth.

Terra removes glaze from the equation and allows the ceramic body itself to define the object. The same flared silhouette is formed in four different clay bodies — grey, olive, sand and ivory. Their differences are subtle but essential: shifts in mineral tone, grain and surface alter the presence of an otherwise identical form. Together, they become a study of how much a material alone can change an object.

A surface formed through repetition and touch.

Bloom is built around a rounded, seed-like volume marked by vertical flutes. Each line is pressed into the clay while it is still responsive to the hand. The repeated gesture creates a tactile surface where light gradually moves between ridge and shadow. From a distance, the silhouette remains simple. Up close, the surface reveals the rhythm of its making.

Ceramic forms built with an architectural instinct.

Column takes its proportions from architecture rather than the traditional vessel. Cylinders, discs and transitions are thrown separately and joined while the clay remains workable, building the object vertically through a sequence of distinct volumes. The result sits somewhere between vessel, totem and architectural fragment — a small structure constructed in clay.

Glass captured between movement and stillness.

Unlike the ceramic works in the collection, Eclipse is formed in glass. The surface begins with the fluid behaviour of molten glass. Deep folds and irregular movements are preserved as the material cools, capturing a moment that would otherwise disappear. A reflective metallic finish transforms these frozen movements into shifting areas of darkness and light. From one angle the surface resembles liquid metal; from another, folded glass or dark water. Designed as a sculptural wall piece, Eclipse changes continually with its surroundings.