Starting with a framework of three sites – home, studio and exhibition space – I have adopted an experimental approach to the production of objects and language, through an exploration of bodily interaction with space and material. How do the specialised processes of making relate to everyday sensual experience? How can craft skills, or tacit knowledge, be expressed in words and how might texts and writing affect making? These are questions without straightforward answers, but in asking them I hope to contribute to an expanding ceramics field, creating a confluence of writing and making that combines the artisanal with the conceptual. I aim to develop a method of production that is rooted in the material specialisation of ceramics, but that examines this knowledge through explicit reference to and experiment with knowledge from other fields.  

In such a project there is, inevitably, an uncertain relationship between practice, research and knowledge. I don’t know what knowledge is – where does ontology stop and epistemology begin? - so to claim that I will produce new knowledge is premature, at best. I will not undertake a pseudo-scientific study of tacit knowledge, but an experimental and systemmatic approach will lead to the production of data – object, image, text, sound – which will be interpreted and evaluated through display. The exhibition space is treated as an experimental site where language and object are brought together, exploring possible interfaces between ceramics, sculpture, moving image and poetry.