‘Our pots are in the tradition of functional domestic wares, however we conceive and evaluate them increasingly in aesthetic terms.

Subtle qualities – the degree of curve in a bowl for instance – hopefully result in work which is pleasing to live with beyond being simply nice to use.

We are conscious of our place in the tradition of thrown ceramics. We were taught by Rupert Spira, who was taught by Michael Cardew and he in turn by Bernard Leach. There is therefore a legacy of ideas and techniques influencing our work. Yet our collaborative working practice is an extension of our relationship and circumstances, and particular to us. An awareness of the heritage may be important in understanding our work but we don’t feel constrained by it.

Functionality provides the immediate rationale for our pots – apparent in the names we give them: bowl, vase, beaker etc. and these archetypal forms are our starting points. But aesthetic concerns are important enough that more time is spent on each pot than would be the case in producing purely functional pots.

We aim for our pots to be as pure as possible. This does not necessarily mean simple. Purity of form is important in revealing the essence of the vessel, allowing it to be appreciated immediately without any extraneous distractions. This also explains why the decoration is not really decorative but more of a surface enhancement, referring directly to the form and the way it was made.’