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Sustainability in my
art practice 

It's important to me whilst creating new objects in the world to make conscious decisions in terms of sustainability and environmental impact at all stages of making and sending work. This is a work in progress, and I am always looking for ways develop this.

I currently have the following in place:

Energy:

The energy I use to fire my kiln is 100% renewable, coming from sources such as wind, solar and biomass.

When sourcing a kiln, I chose the Eco version, which has energy saving insulation to ensure that the maximum temperature is reached with low electrical connected loads.

Where possible I single fire work, using less energy. All of my jewellery is single fired, and I've developed my new ceramic wall hangings to be single fired too. I'm looking into this as an option for the rest of my ceramics collections too.

Waste:

There is minimal material waste in my making process – any leftover pieces of clay, or anything broken or tested before firing can be reclaimed and used again by soaking and processing the clay by hand. I separate out the different clays I use (including any slabs with coloured clay added) so that these can all be used again in different ways.

Once clay is fired, it is a long- lasting material and I hope that the works I make will be treasured for generations to come.

I have seconds for sale, or use them in the studio so that these go to homes or are put to use. 

Materials:

I source reusable or compostable materials for the studio where available, for example reusable sanding pads and compostable wrap for wrapping slabs if needed.

The packaging I use for sending work is plastic-free, recyclable or compostable, and recycled where possible.

I buy my clay and tools as locally as possible, and my clay is produced in the UK.

The necklace chains I use are made from 100% recycled silver, and the silver I use on the inside of the necklaces uses recycled silver too, as precious metal clay.

I choose pigments that are sourced responsibly.

I'm experimenting with making pigments from locally sourced raw clay, soil and leaves. My ideal is to have something I produce locally, and I would love to include this in my practice after some development.

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