BYO plate project emerged in 2017 from an exhibition called Welcome to Wasteland curated by Friends and Associates. I was asked to use materials from my industry to re-imagine objects; I re-fired found plates to test the more complex re-firing of toilets. The toilets were great, but the plates ended up becoming rather infamous. At the end of 2022, I was commissioned to create a 60-person set for The Powerhouse Museum in Sydney, which was both controversial and scary and also exciting. These plates can be found in homes worldwide and can be used on the table or the wall. I don't really mind either way. Here's a little of what I've said about them:

The dinner table transforms into a socio-political event, where BYO plates become a medium for expressing queer vernacular and a touch of cheeky irreverence. This contemplates and embraces the intricate, occasionally uncomfortable, and ideally humorous dynamics that emerge during communal dining experiences. This project aims to disrupt the repetitive cycle of mass-produced ceramic objects, reintroducing them into consumption through deliberate actions, whether for practical use or preservation as keepsakes.

These plates are 'curated' from diverse sources, including thrift stores, discarded items on the curb, and even existing basic dishes from clients, which are then customised. The plates are stoneware, bone china, or porcelain, lending some elegance to the experience. The text adorning these plates is hand-scribed in 18ct gold, adding a touch of opulence and personalisation to each piece.