‘…Beauty, and our response to it, remains a mystery. But it seems to me that, in the alchemy of making, the pot becomes subtly humanised. It is as though a kind of knowing is translated – through care and consideration, and an intimate connecting with the stuff under our fingers, the fluidity, the resistance, the wetness, the toughness – into a form with an independent life, with its own power to move… So we speak of pots as though they are animate: we call them gentle or generous or strong or vulnerable.’¹

1. Hanssen Pigott, G., Object of Ideas: Ten Approaches to Contemporary Craft Practice, Queensland, 1996