I use a special slab building technique that emphasises the 'earthlike' qualities of clay in a visual and tactile way. Grogged stoneware clay (Crank, sometimes mixed with T material) is rolled out on an old mangle between textured cloths. A limited palette of porcelain slips is used to paint areas of the slab, sometimes through fabric stencils. The wet surface is marked and treated before a blowtorch is used to force dry it. The slab is then re-rolled to tear and stretch it, revealing textures and patterns that represent many found in the visual landscape or seascape. The slab is then cut and/or torn into numerous pieces which are re-arranged and re-assembled over a variety of formers to produce free standing or wall hanging forms. The surface of the form may then be further treated by scratching, incising and slip painting to achieve the effect required. Ware is biscuit fired before being spray glazed. A white felspathic glaze is used over the areas of porcelain slip and a dry mock ash glaze is used over other areas. Variety of colour and tone is introduced into the mock ash glaze by mixing with various oxides. Copper oxide is used to achieve "flashing" at the high temperatures of the kiln which fires to 1270oC with a reduction atmosphere from 960oC. My work explores the physical and spiritual qualities found in landscape and seascape. Although it is essentially process led, it is concerned with spirit of place, freedom, time and truth. To this end considerable control has to be exercised throughout the making process to achieve the required results.