My practice is rooted in hand building, where clay and found materials become a language to express my emotional connection to nature. Working in stoneware and porcelain, I explore sculptural form through carving, layering, and texturing, often using plant material from my garden alongside other gathered fragments. Slips and glazes are applied much like paint on canvas—sometimes concealing, sometimes revealing—allowing intuitive mark-making to emerge across the surface. The component aspect of my work is central. Inserts and attachments introduce a playful quality, altering the mood or shifting the character of a sculpture through the smallest change. This dialogue between form and surface has evolved over time, shaped by my interest in creating pieces that feel tactile, layered, and alive. Many of my recent “Beast” sculptures, for example, carry a depth of surface achieved through carefully chosen combinations of clay, colour, and firing. I aim for as few firings as possible, which brings clarity and freshness to the finished work while still producing richness and complexity. What interests me most is the quality that makes an object irresistible to look at more closely—the same feeling I get when beach-combing, browsing second-hand bookshops, or finding unexpected treasures in charity shops. It is often a flash of colour or a subtle texture that catches the eye first. Through this process I hope my sculptures connect with others on a visceral level, offering qualities that resonate with the ancient, the earthly, and the natural.

Sarah creates tactile, abstract sculptural ceramics that are ambiguous and strange, yet familiar.
Inspired by the physiology of the body merged with organic form she creates ceramic assemblages that often incorporate found objects and textiles in a make-do-and-mend approach. Using innovative repair and joining techniques - eg soldering, riveting, tying - as an aesthetic choice, she celebrates the random and the unpredictable, finding grace in the merging of disparate materials.
The work is playful and frequently interactive with sound elements and moveable parts. She has exhibited widely in the UK and in Europe and Japan, with work in private collections across the globe. The work is fired to stoneware in an electric kiln.

The focus of my work is Line Form and the resulting shadows. Inspired by the Natural and Architectural Environment I make abstract forms which explore organic contours and contrasting hard edges.
Subtle play of light and shade gives definition to the pieces with their oblique refences.The structure balance and purity combined with the strength of bone china produces a quiet but emotional haptic impact capturing fludity and movement. The firing process invite unexpected outcomes.
I use a variety of methods and techniques, including, handbuilding, carving, mouldmaking and casting. Manipulated and distorted forms are then scraped, fettled, sanded and burnished through lengthy labour intensive processes to achieve smooth, tactile surfaces. I work singularly with china clays firing to temperatures of 1260 degrees with a soak period determined by size and thickness.

One-off handbuilt burnished ceramics.
Studio based in London.