Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…Every surface in my work begins with a decision about layer — how many, in what order, and what to carve away. Lately I’ve been drawn to a deeper, rougher drawing — sgraffito marks that go down to the raw red clay beneath…
The colours of autumn in the kiln
