In my work, pattern supports shape, as if a pattern defines a shape and vice versa. If a pattern is scaled big, the form of the object dissolves. And if the pattern is scaled small, it becomes a surface or texture applied to the object.

Working with large-scale ceramics is challenging for the body. My patterns are sized to my bowls using a computer and applied by hand. I usually work 12-hour stretches to achieve this. I strive for the sublime, and that takes time.

Black and white belong to the world of graphics which I am very drawn to. There is purity and freshness to black and white that makes them timeless. Although it seems that colours have been removed from the equation, black contains all the colours, and white represents light.

A trip to Japan in the early 1970s changed everything for me. The merging of positive and negative space became very clear as I experienced how art and the surrounding space can coexist and complement one another. This constant play with yin and yang is an essential theme in my work.