There is narrative in everything. Materials are imbued with stories even before we start moulding them into shape. Clay is no exception, from...
Paul Kharade
I produce wheel-thrown vessels that I create with a sense of spontaneity, capturing the feeling of movement and growth. These qualities are...
Simone Youngman
There is so much beauty to be found in art history, particularly the figurative work of Rodin, Kahlo and Moore. There is an energy contained in...
Rebekah Barnett
“Life is like texture” Elizabeth day" (2020) Porcelain does what it wants, it remembers every touch we encounter on it and leaves a memory of our mistakes...
Lucy Turner
Through the outsourcing and mechanisation of labour and the outsourcing of materials, we have steadily become increasingly distanced from the objects that...
Rhyann Arthur
In this project I have been exploring the hierarchy of materials within ceramics as a study into the accustomed narratives of museum curation. The...
Rosie Harman
My work expresses the personal: the highs and lows of the lived experience, illustrated through an enlivening combination of colour and pattern, figuration...
Jane L MacFarlane
I collect ceramics because I feel connections in the stories that they embody. I see them as gateways to the tacit complexities of lives lived. Objects can tell...
Faye Green
As a maker I am inspired by historical events and the people around me, transforming this into unique illustrations applied to a diverse collection of surfaces...
Emily Whitworth
My work explores the energy and vibrancy I see in the world that surrounds me. The work is a mirror of the qualities I see. Using extruders, slips and glazes I...
Clare Stephens
My previous profession as a midwife compliments the values and ideas within my ceramics, fostering an appreciation of diversity, unity, fragmentation and...
Nicholas Stenhouse
Material Synergies: Capturing the Immediacy of Thought & Feeling As an artist, I employ the agency of ceramics to anchor my subjective emotion. The work in turn...
Mattie Amatt
Mapping our Sensorial Field To live in the world is a bodily experience; we are formed in part by the textures, sounds, smells and shapes that surround us as...
Ethan Powell
Self-Sourcing Materials – a life Defined in Relation to the Earth “Every object, well contemplated, opens up new organs of perception within us.”- Johann...
Heather Wilson
Archetypal Objects: A Serene Domesticity Our natural tendency is to find meaning within everything. Even function is an explicit exploration of human...
Karen Jones
Fractals: Assembling an Intricate Beauty There is beauty in the natural world, the texture, colour and formations of land and sea. The colours of the ocean and...
Nigel Edwards
Autobiographical Coastal Forms I was bought up on the rural coast of Devon during the time of great social economic and technical change; the 1950’s 60’s and...
Yuqi Zhang
Alchemy and Emotional Storytelling Nature always wears the colors of the spirit Looking into the beauty of nature is a most exciting thing for me, because it...
Danial Salter
Experienced fine dining: bridging the divide between ceramics and the senses The activity of fine dining is an inherently sensorial experience and with the...
Nathan Barnard
Sculpting Sensorial Encounters: A Multimodal Approach Our experience of the world is governed by sensorial perception, and with each material interaction our...
Marcus Lunde Berntsen
A Cultural Orphan: Repatriation through Ceramics A cultural orphan is a person that never been able to feel at home or accepted by either they’re on culture or...
Hamish Symonds
Drawing on Living History I create functional pottery, drawing inspiration from UK slipware traditions. I limit myself, as far as I can, to the same materials...
Ellie Basi
From Body to Mind: Empathic Ceramics With this generation as with many before it, anguish over mental health is an issue that affects the population both old...
Vithushanan Karunakaran
10,000 hours: Striving for Skill Why is there a need to know the character and the intentions of the potter in order to appreciate the pots. A potter should...
Johnathan English
Working in clay, for me, is both a passion and a deeply theraputic process. Suffering from long term Post Traumatic Stress Disorder after having served as a Paramedic in the Parachute regiment of the French Foreign Legion for six years. During this time I was to see...
Lucy Thwaites
Porcelain has been used for centuries for its unique properties. It is fine, delicate, vulnerable and retains evidence of each interaction made with it, fixing a moment in time, documenting a history, the life of the clay. My forms exploit this capacity, finding...
Olivia Antonio
My work displays ambiguous forms that express the human figure, mimicking the subtle movements gestured between bodies capturing connections within intimate moments. These movements displayed by the sensual ceramic forms combined with the composition of the ceramic...
Andrea Pykett
A family is made up of individuals: parents, children, siblings who come together to make a whole. Belonging to a group can bring a sense of cohesion and unity, but individuality cannot be ignored. I believe the same is true for the ceramics used within a home,...
Adlina Razan Binti Ruslan
My work is a celebration of transculturation and interculturation between Malay, Pakistani and Western culture. Through my practice I hope to represent audiences who are mixed raced, those who are in a minority, and those who are experiencing racial ambiguity, to...
Liam Clayton
Space, we move through it every day. We travel from destination to destination chasing our latest objective, most of the time hardly considering where we are beyond how to get to where we need to go. Everything we can perceive exists within space yet we often consider...
Hannah Frances
The materiality of clay and the alchemy of minerals are intrinsic properties of the earth often unseen by the naked eye. I choose processes that capture the energy of transformation. Whether first in plaster, second with high end porcelain slip or thirdly by giving a...
Lucy Jenkins
There is beauty in transferability, in creating a design so simplistic and efficient that it can be adapted to serve multiple functions. Adaptability is essential to my practice. I batch produce pieces, through use of plaster moulds and slip casting, that can be...
Cristina Sabater-Hayes
I believe that ceramics is an undervalued material. As humans we have forged a relationship with ceramics for thousands of years and yet we somehow take it for granted. We are constantly in contact with plates, cups, bowls, etc. but we never pay these objects enough...
Jasper Smith
We often look at objects and perceive them as static, but it doesnt take much to shift that perception enabling us to transform the regular and mundane into something else. In order to try and come to better terms with what we experience we need a starting point from...
Ady Barker
The landscape contains a particular spirit that is shaped by those who interact with it. The same is true of the making process, with clay responding to the intent and knowledge of the makers hands. A harmony can be found, a meditative connection reached in both...
Saskia Raw
The stacked tea bowls pose a contradiction between function and sculpture, referencing human interaction and the more compositional concerns of weight, shape, form and balance. The consequence of this is a sense of unpredictability, of familiar objects moving into and...
Cameron Benn
The ethos of my work is to celebrate a pure minimalist design, to reveal the essential beauty of qualities and values that exist in our architecture and products. It is a beauty derived from a balance of elements that help us feel centred, with the capacity to create...
Elin Hughes
My practice stems from a motivation to understand the thrown form. Through a cyclic process of fracturing and reconstructing I hope to achieve an instinctive understanding not of the process of throwing but of the forms that result from this method of making. My...
Nam Kanjana Paylor
My work explores the balance between function and ornamentation. Whilst ceramics is often associated with utility, our tactile interaction with their properties can enable a story to be told; a sense of time can be captured through movement in glaze, sense states...
Yixia Lin
Living in utilitarian buildings, inhabitants can tend to act passively with their surroundings. My interest lies in reactivating our early human lives and a more intimate interaction with the environment. I am fascinated by the primitive quality of the ancient objects...
Alina Agaciak
The challenging of utilitarian and craft prejudices against ceramics stimulates my work. I believe that life and art are one, that the domestic table and vessels that inhabit it are a sculptural landscape worthy of any gallery or museum. My ethos combines ceramic and...
Frances Gwilliam
My work is made to reflect comfort and the personal, when eating and drinking. In most cultures there has always been a cloak of convoluted rituals involved in dining to test each others socialization and civility. How we make utilitarian wares is centered around...
Toni De Jesus
It has been common to describe craft’s position as a borderline area between fine art and design. I prefer to call this area an ‘intervening space’ or, to be more precise, the space between function and non-function, tradition and breaking with tradition,...
Morgan Dowdall
I produce ceramic sculptures that celebrate the responsiveness of both skin and clay, blurring the lines between body and object. The body is central to our understanding of the world, art should therefore remind us of what it feels like to inhabit it, forcing...
Magdel Strydom
These pots display upon their every surface the journey they took from bag of clay to where they are now curated. This is because clay has a unique memory, and immortalises our impact upon it, which can act as a reminder of our responsibility to the earth. The...
Frances Elisabeth Lukins
My practice is an attempt to develop a body of work that enables me to gain a greater understanding of life’s sensory and experiential properties. Clay makes sense of my experiences; building a poetic material language, which through the process of selection, and...
Lucy Maria Catherine Fielden
The colours of Cornwall are recorded throughout art history as holding particular warmth and radiance, as being mysteriously heightened by a brilliant quality of light called over from the Atlantic sea. It is fascinating how the different levels of sunlight can change...
Laura Bevan
I am a potter. I enjoy making functional objects intended for a domestic setting. I want to celebrate the simple act of eating and drinking, to encourage appreciation for hand-made objects; from the visual qualities of surface, to the tactility of holding a vessel, to...
Adrian Miles Warszewski
My work focuses on the use of surface: through decoration and functional choices alike, we communicate meaning to both ourselves and to others - my medium of choice is ceramics, but more specifically porcelain, for its challenging nature. I believe that if one aims to...
Marek Liska
I’m a ceramic gardener. I believe all matter should be considered alive and vital. Through attentive human intervention, material can be cultivated into forms that are not dominated by pure human will, but are collaboratively shaped by the world and its forces. Clay...