Clay is where digital thinking meets physical instinct. Each form below started as a question — about structure, weight, and surface — answered without a screen. A quiet counterpart to 16 years of UX work.
Coming soon
A coil-built vessel exploring rhythm in form — each ring layered by hand, smoothed to a surface that holds tension and softness at once.
View piece →Coming soon
A wheel-thrown bowl where the thinning walls record the precise moment between control and surrender — a conversation with centrifugal force.
View piece →Coming soon
Slab-built structure playing with deliberate breakage — the cracks are part of the design, features to be celebrated rather than accidents to hide.
View piece →Coming soon
An abstract piece about protection and stillness — exploring how form can suggest both armour and repose in the same gesture.
View piece →Coming soon
Pinch-pot construction following the logic of natural growth — a small form that radiates outward from a single pressed centre point.
View piece →Coming soon
A multi-part sculpture assembled from identical hand-pressed tiles — repetition creates surface texture while geometry demands precision.
View piece →After 16 years of designing with pixels, clay became a necessary corrective. It has no undo button. It records every hesitation, every confident push. The material talks back.
Working with clay sharpened how I think about affordance, texture, and tactile feedback in digital products. The two practices are less separate than they look.
Coil, slab, and pinch methods — each imposes its own structural logic and creative constraints to work within.
Both fire at high temperatures and forgive very little. The kiln is the final editor — it reveals every hidden tension in the piece.
Tactile prototyping, spatial reasoning, and material constraints all translate directly into how I think about physical affordance in digital design.
Whether it's a UX project or a conversation about craft, I'm always open to interesting collaborations and exchanges.