I am a maker, I build stuff and I love to be connected  to the natural world — and the workshop is where everything meets. I don’t want you to see me only as a trug maker. My practice is about creating an emotional response, born from and reflecting my culture, space, and time, using natural materials that breathe, respond, and unfold under my hands.

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  When I steam ash, I love the smell and breathe deep. The scent of the wood is like freshly cut grass — that’s how I know it’s ready to bend. In that moment, I’m living in a heightened awareness of material, temperature, and intention. The  steamers bubbling away, my hammers tapping and the thin layer of mist around me — the workshop becomes a threshold between what is raw and what becomes art.

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I love being surrounded by nature, by riverbanks and reeds, by the vast skies of the Fens, I build this feeling into my work with a biophilic design language and meaningful sensory choreography, that builds relationships with objects, and emotional sustainability. When I lived on a narrowboat on the River Wissey, I only made functional things, those things became a part of my daily rituals and I have been creatively drawn to utility ever since.

 

Function, to me, deepens the connection with the viewer by inviting you to physically interact, regularly. It's like a deeper description of the object, a dialog between maker, material and humanity. Function tells us how to use art, it gives objects their place in our world  or is even like a humble excuse for them. That life shaped not just my aesthetic, but my creative DNA. My trugs and all my work — come from a desire to echo the subtle energy, freedom connection to nature and beauty in utility.​

 

My first-class BA in Furniture Design and Craft (Bucks New University) gave me the foundation to explore sculptural structures, joinery, engineering and emotional design. But what truly drove me was pushing traditional craft to realize furniture and objects for holistic living with my unique juxtaposition of craft skills and sculpturally rhythmical design qualities. I’ve used traditional boatbuilding techniques — copper nails and roves, overlapping clinker forms, steam bending — not as constraints, but as springs for new possibilities that resolve a contemporary need. The evolution of my practice happened naturally, instinctively and authentically become my craft signature.

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  I call my vessels and forms sculptural utility — holistically serine objects that serve and provoke, that invite touch and pause. They ask you to engage, to lean in, to feel themes of holding, carrying and tending and absorb and evoke memories. When a trug rocks slightly in the wind, you sense its tension, the lines reassuringly repeat, creating movement, flow and presence within the structure that moves. 

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  Though many know me through my trugs, I am expanding: to commissions for vessels, furniture, and experiential pieces beyond their frame. I want to be known as an artist first — one who crafts with evolutionary making methodologies, mythologies, integrity, curiosity, and emotional depth.

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My work has been featured in Crafts, Craft and Design, Country Living, Gardens Illustrated, Elle Decoration, and The New York Times Style Magazine and many more. I’ve also been the recipient of several awards, including the Design Trust Best New Business Award, the Toni Piper Memorial Award for Craft Excellence, and inclusion in the Crafts Council’s Hothouse program. These recognitions have allowed me to connect with galleries, curators, and collectors internationally who see beyond the object, deep into the the conceptual thinking, to the making story. My most recent commissions for Michelin Star restaurants in London and internationally have expanded my range. Currently I'm working on a show with MOR Studio and The Newt in Summerset, UK works available from late October.

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In my studio, mornings begin with a ritual: tea, re-checking plans, stare into space, write some stuff about stuff and work on my laptop during sunrise. Next to my office/my partners music studio, is my workshop, I breath in the Fens opening doors to let light spill in. I sweep the floor, fill my steamers and set up the steam box in the courtyard, lay out lengths of ash. I listen — to wood, to wind, to inner rhythm with my dog at my feet. Making is my meditation, I love that frame of mind, it's my way back home. In the evenings, I walk, I throw a pot on my pedal potters wheel, sketch, listen to the land breathe, rewind, explore new ideas.

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I hope that when you see or hold one of my pieces, you feel something quiet but alive — a sense of calm, connection, perhaps a memory you can’t name. I want the object to become familiar, like an old friend, an echo of nature’s own order and surprise. My journey is open; my tools are feeling, intuition, experimentation. As my range grows, I carry each piece with intention: rooted in material, alive in emotion, honest in concept.

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This is me — in the workshop, by the river, in your hands.