Contemporary Ceramics gallery and shop exhibits the greatest collectable names in British ceramics along with the most up and coming artists of today. Our distinguished makers are all carefully selected members of the Craft Potters Association.
All of our makers are members of the Craft Potters Association and each of them have a story to tell.
Many of his sculptures start with a narrative that is either imagined, half remembered, carefully researched or commissioned. A love of whimsy, folk art, religious and tribal art, and his background as an illustrator, all go into the mix. His output is low and slow. Occasionally, Derek returns to a theme but, unless specifically designed as a set, every piece he creates is unique.
Her work captures her imaginary life and real life, which overlap. She used to pretend to live as a ‘normal’ person in society but wildness took over the thin veneer and it consumed her. Once she started making sculpture, all those layers of pretention fell away. She was finally one whole person.
Many years ago, Harriet was inspired by an article by Dick Lehmann about carbon trap glazes. She has been exploring this intriguing glaze ever since. She believes that all the potters who work with carbon trap seek different qualities and achieve quite distinctive effects even though they may use the same recipe and fire to the same temperature in the same kind of kiln. The glaze is unusually responsive to the atmosphere in the kiln and even to the weather as it dries before firing.
Tarragon gained a BA Fine Art in 2003 from Nova Scotia College of Art and Design University, and an MA Fine Art in 2007 from Central Saint Martins.
He admires the historically nomadic nature of ceramic ware. This tendency of pottery to move from one place to another, carrying with it commodities, aesthetics, and ideas, converges with his use of water as a decorative motif.
Loraine's background as a map maker informs her ceramics practice. Clay provides a tangible connection to the earth’s surface, through which her work explores how maps shape our sense of place and belonging. Relief maps and domestic-scale vessels are decorated with cartographically accurate drawings. By playing with scale and volume—whether through a pocket globe that places the world in the palm of the hand, or topography with amplified relief—her work addresses specific themes, including environmental and social inequality, and monumental journeys.
Hilary's practice responds to observed details in the landscape with current focus on the geology and topography of the Suffolk coast, a place she has frequented for over 20 years; where the flat land meets big open skies and has a beguiling beauty all of its own. Erosion is a constant theme of this exposed coastline. The elements, battering, wearing, sculpting; imprinting the landscape over time and leaving their mark.
