They are all made using slabs taking from moldings that James has made or found.

For the past five years I've been developing new forms and surface treatments to my work, that break with tradition and follow the route of many of my peers trying to forge new paths of expression in ceramics.
I don't know if it comes with age, but my work has become more reflective of the past. There is evidence of age with use of rusting iron and peeling metal leaf, and the forms fractured presence. When making the work I enjoy creating references that are incomplete and open to interpretation, allowing the observer to mull over it's past/present purpose.

Much of my work is intuitive, but the current references are from my childhood, between the ages of ten and mid-teens. My weekends and school holidays were spent on the shingle beaches of Suffolk, climbing in or on the old gun posts and pill boxes. The sea and weather had twisted and contorted these slabs of concrete revealing the rusted iron skeletal supports. These forms were in stark contrast to the shifting single and hedgerows with bramble tentacles reaching over the grey slabs.

This does not explain the use of precious metals. This is a development of an idea I had on my MA where the intrinsic value of an object can be elevated by its presentation or surface treatment. While visiting museums you were presented with fragments of preciousness, that in there present state were anything but, but it was what they once were that we are supposed to envisage. This is something I hope to provoke/emulate with my current work.