Stone, Symbol & Surface
My work is rooted in the landscape and material culture of Scotland.
From Pictish standing stones carved with rhythm and repetition, to weathered granite shaped by time and tide, I am drawn to surfaces that hold memory.
The North East coast, where I am based, is rich with archaeological fragments; spiral carvings, mirror and comb motifs, crescent forms, symbols that speak of identity, ritual and belonging. These ancient marks inform not only the decoration of my work, but the way it is made.
Hammer marks become contemporary equivalents of carved stone.
Repetition becomes rhythm.
Silver becomes a vessel for heritage.
Hand, Land & Lineage
Beyond landscape and archaeology, my work is equally shaped by people, By the quiet resilience of those who have lived and worked on this land for generations. The act of making, for me, mirrors the rhythms of working the earth: patient, repetitive, physical, attentive. Just as stone was once carved by hand and fields shaped through labour, silver is slowly formed through controlled force and touch.
I am interested in how objects move between hands and across time, how a drinking vessel becomes part of celebration, how a quaich marks welcome, how a piece of silver gathers meaning through use. These are not static artefacts but participants in lived experience. In reinterpreting historic forms, I am not attempting to recreate the past, but to create space for new rituals, objects that sit comfortably within contemporary life while carrying the weight and dignity of heritage.
At its core, my practice is about continuity: between maker and material, past and present, object and owner. The marks I leave in silver are deliberate and visible, evidence of labour, of time invested, of a human presence embedded within the surface. Through this dialogue between hand and metal, I aim to create work that feels both grounded and enduring, pieces that connect people not only to Scotland’s cultural history, but to one another.