Tension 01

Luxury & The Overlooked

Recycled plastic as a premium surface. Waste material treated with the same rigour as hardwood. The practice consistently asks what becomes valuable when handled with enough care and intention.

Tension 02

Raku & Design Systems

Raku is uncontrollable by definition. Design systems are control by definition. The practice lives in the gap between the two — where chance informs structure and structure makes room for chance.

Tension 03

Multanni Mitti & British Stoneware

Pakistani clay thrown alongside British stoneware. Two material traditions that don't typically share a kiln. The objects that result belong to both lineages and neither exclusively.

2022
Product Design Sustainable Materials Exhibition

CANTI — 001

Solid oak, mahogany + recycled plastic table. Cradle-to-cradle framework. New Designers, London.

2021
Product Design | Sustainable Manufacture

Origin Plastics

Homeware from recycled plastic. Injection moulding, CAD, user research.

2022
Product Design | Recycled Plastic | Injection Moulding

Project 261 — THUDPUK

Low-cost, injection-moulded flying toy designed for mass manufacture using recycled plastic

2022–23
Ceramics | Practice Development | Exhibition

Graduate in Residence

Gray's School of Art. Tableware series, glaze development, 20+ exhibited pieces.

2022
Ceramics | Client Work

Project 262 — Greene King

Ceramic tableware commission. Graduate residency client project.

2025
Site-Specific | Public Installation | Ceramics

Cycle Arts Festival

SCOPE Collective. Site-specific ceramic installations along Renfrewshire cycle routes.

2025 In Production
Ceramics | Brand Objects

Kala Topi Table Setting

Three ceramic pieces for Di Kala Topi. Multanni mitti + stoneware.

Ongoing
Ceramics | Cultural Practice

Multanni Mitti

Pakistani clay + British stoneware. Personal practice exploring material identity.

Material

Multanni mitti — a fine-grained Pakistani earthenware clay used for centuries in skincare, traditional ceramics and ritual objects across Punjab and Kashmir — is thrown here alongside British stoneware. Two clay bodies with different memories, different responses to heat, different relationships to water. The work that results carries both histories without resolving the tension between them.