The apple does not fall far from the tree ~ Australia

*Bom Dia, Maria - Jug 01*
*Stoneware, Shino, Banksia Tree Ash Glaze, Sally Wattle Tree Ash, Wood Fired for 85 hours in Anagama Kiln*
*25cm h x 26cm w x 6cm d*
*Australia 2025*

the apple falls far from the tree ~continued~ the apple does not fall far from the tree

The continued exploration of discoveries found in Portugal and brought back to Australia.

Pieces from this body of work are predominantly Wood Fired, once or twice for 85 -100 hours in an Anagama Kiln on the Mid North Coast, a few hours north of Bellingen where I reside when home.

The surfaces of these pieces are developed from foraged materials that I have collected around home including; Bellingen schist from the river, SA Wild Plum tree ash and Mango tree ash from my childhood home and Banksia tree ash from the trees that sit along the coast line of the nearest beach. Some pieces were placed in the kiln unglazed and developed a glaze from the Sally Wattle Acacia tree that we used to fire the kiln. The beads hanging from myself and my work are mostly ceramic, and one of a kind, with additions of Jasper, Mother of Pearl and Blue Sapphire.

*Bom Dia, Maria - Jug 02*
*Stoneware, Shino, Bellingen River mudstone & SA Wild Plum glaze, Sally Wattle Tree Ash, Wood Fired for 100 hours in Anagama Kiln*
*27cm h x 26cm w x 6cm d*
*Australia 2025*

*A thousand moths - Wall Plate*
*Stoneware, Sally Wattle Tree Ash, Wood Fired for 85 hours in Anagama Kiln*
*Ceramic, Mother of Pearl, Red Jasper, Blue Sapphire Beading*
*52cm h x 31cm w x 4cm d*
*Australia 2025*

A noteworthy coincidence; invasive Australian Acacia was used to fire the kilns in each Wood Firing I participated in while in Portugal;
A beautiful synchronicity of the pieces from these far away places, that ultimately encapsulate the layered intertwining of self and experience of Portugal and Australia.

The analog photographs with Elise Gellweiler were taken in Bellingen, Australia. We enjoyed the warm September sun of spring after the cold winter, the maple trees in full bud, inhaling the blooming camellias. The day ended with an afternoon river swim, always.

Kiln, process and product photographs taken by the artist.

*Uma Concha - Wall Bead*
*Stoneware, Sally Wattle Tree Ash, Wood Fired for 100 hours twice in Anagama Kiln*
*19cm h x 19cm w x 7cm d*
*Australia 2025*

*A thousand moths - Lamp & A ways away - Plinth*
*Stoneware, Shino, Sally Wattle Tree Ash, Carbon Trapping, Wood Fired for 85 hours in Anagama Kiln*
*Ceramic, Mother of Pearl, Red Jasper, Blue Sapphire Beading*
*Lamp; 46cm h x 21cm w & Plinth; 46cm h x 30cm w*
*Australia 2025*

Reliquary Collar - An adaption and expansion of place and memory into tactile object and form.

To worship, revere, a place with artefacts created from made and collected site-specific items/materials.

An habituated shrine that can come with us as we depart, an ode to the universal locket, which held photographs of loved ones inside, worn around ones neck. Beads made here, with local materials in clay and glaze, now hold memory, place and experience, both in situ and on ones being.

All beads are made and Wood/Salt Fired in Portugal and Australia.

Can be worn as necklace or belt. Can also hang on the wall as rosary does. Woven onto 100% leather cord.