The ancient tradition of handbuilding using coils of clay is a method which allows her infinite analysis within the confines of the vessel. By making the work with narrow bases and wide undulating rims she imparts to each piece an energy and motion that is reminiscent of certain natural forms such as the swell of a wave, a bird in flight or the contours of rolling hills.
Other investigations into nature are made too in her use of colour. Oxides or carbonates such as chrome, copper, iron, basalt, cobalt are added to the clay body and the interiors only are glazed in a contrasting colour glaze. This allows for different glaze/body interactions resulting in subdued variations of surface, colour and quality. Molochite is also added to the clay and this gives a white speckle throughout which echoes pebbles, granite, rocks.
Kerry enjoys making these sculptural functional pieces and, as there is no such thing as symmetry in nature, she makes her pieces asymmetrical which bestows a sense of movement and flux; this is further enhanced when viewed as a group.