Read new essay → how art and material reveal a shared field of perception.

A life shaped by enquiry — across art, science, and enterprise — now finds its still point in the rhythm of making. Early work with clay ran parallel to professional years spent mapping micro-worlds, designing systems, and testing the edges of thought. One searched for pattern, for constants, for silence — for the logic beneath the visible. What once appeared disparate now reveals its coherence through making, by hand, wheel, and pigment, toward a language of stillness.

The early grammar of form — shaped by the disciplined modernism of ceramicist Hans Coper, architect-designer Carlo Scarpa, sculptor Elisabeth Frink, and others — remains latent here. The spatial poise of their practice carries forward into the field of perceptual enquiry that defines Intersentient States. Values honed in science — rigour, iteration, and respect for constraint — find new life in the studio. Vessels, heads, and paintings, each shaped by pressure, erosion, and time, are studies in presence. Mute, archetypal, withholding, they do not explain — they simply are. They are their own language.

In a world quick to forget, these works — as both material and metaphor — are gestures of resistance: against noise, against vanishing, against the eyeless future that assembles elsewhere. They reach toward Berenson’s Itness: a distillation, an unresolved tension, a convergence. Made in solitude, turned by foot, shaped by memory, they are thresholds — a listening — questions made solid.

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Further explorations unfold within ->
Ceramics, Sculpted Heads, Graphics,
shaping form, silence, & resonance.