I've realised recently that a lot of the work by other makers that really excites me it made in metal.
Some of the loveliest things I saw at Made London were Lousie Loder's silver tools for making sandcastles. They were wonderfully delicate and irregular, humble and irreverent along with a great sensitivity in the use of materials.
I've really liked Helen Carnac's enamel bowls for a long time, they feed into my slight obsession with rust. But it is the quiet beauty of her mark making and the textures, colours and surfaces that I keep returning to. Her blog is well worth looking up as well.
My latest find, via Contemporary Applied Arts, is Grant McCaig who seems to be playing with traditional metal forms and processes in really interesting ways - often exposing the process or using process as a way of revealing different qualities in the material.
All of which is somehow taking me back to the skeuomorphic (great word - means when one material looks like another) qualities of clay and the long ceramic history of copying metal forms - imitation metal rivet marks on prehistoric pots, Chinese ceramics copying archaic bronze objects, early German salt-glazed stoneware tankards.
The trick will be taking elements of metal forms and surfaces in a way that references the original but retains integrity as a ceramic object. As always there is only one way to find out how to make this will work - get making!