Each collection begins with an atmosphere, whether an image, a plant, a fragment of botanical or museological reference, then evolves through drawing, reading and material testing before reaching the wheel. Pieces are hand-built by coiling, often worked on a banding wheel, the slow accumulation of clay leaving asymmetries the form will hold. Surfaces are developed through pre-industrial and low-toxicity processes including terra sigillata, ash glazes, slips made from wild clays, smoke firing and raku.

Botany gives the work its first vocabulary of form: plants act as matrices, lending the ceramic a way to communicate about ecology. The vases oscillate between domestic object and speculative artefact, a collection composed by the differences between adjacent forms.