Helen was inspired by the eary 18th century slipware cradle in the museum's collection. Helen describes her piece, Still, as an installation of printed porcleain cradle-like forms.

'I like the fact that it can rock, and that it's quite sculptural, rather than a vessel, which was what was putting me off some of the other pieces really, and I decided to marry the idea of this object with the simple quality.... of the creamware. Its having a bone-like quality... became important as an idea.... The emptiness is about however it might be read by the viewer really because it's expectant, it's about potential, and absence implies a presence. I was also thinking of the poignancy of an empty cradle..... perforations, empty, ashes, mummy-like object, salt, photo on salt, safety pin, still, very discreet embossed. This is very much a journey in terms of these ideas.'

Slippage, made with Nick Homoky, is a saltglaze bowl containing labels debating the patent of black slip:
'When we went to the V&A, one of the pieces that intrigued me was this small bowl here... because it had four labels inside it, two of which are unreadable and one of which debates the patent of the slip and something to do with the salt-glazing as well. I wasn't so much interested in the content as the fact this bowl was stuck all over with labels, which started to become more important than the piece. I'm thinking about the ideas, I tend to be in my head, whereas he's thinking about what it looks like, so that's excellent. The title refers to ' the slippage involving language and translation, and ... how things translate through time.'