Using hand building techniques, she constructs her vessels by coiling and pinching the clay to build the forms. This is a carefully considered process, allowing the clay to retain enough of its natural character, the making process visible on the finished surface, indentations, finger prints, rips and tears. The clay has a memory and it keeps these marks as a record of its creation.

​

Plant life is wrapped around the vessels and saggar fired in a primitive kiln firing fuelled with wood. The foraged wood and organic matter used in the firing combined with the elemental conditions on the day all direct the decorative results. Adaptability to the changing weather conditions is crucial, with the aim being to capture the movement, energy, and life of that moment, etched onto a surface. The precarious nature of this style of firing brings enormous vitality and gives Victoria an emotional connection to her work.