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.
Sean's love of slipware first began whilst attending the studio pottery course at Harrow College of Art in the late 1980s. Now 30 years and three workshops later he is still making slipware. Since 2007, after moving from London, Sean has been working in an old converted stone barn in Southern Brittany, France.
1949 – 2024
Karen began making pots in the early 70s. She completed a degree in chemistry at University College London, then worked as a computer programmer before she discovered ceramics and quickly realised that ceramics was her real vocation. As a largely self-taught ceramicist, Karen worked briefly for a production potter in Yorkshire, then moved back to London and in 1977, set up her first pottery in Hackney, East London.
Stephen Parry first trained at Croydon College of Art between 1974 - 1977, then moving on to Dartington Workshop until 1979 before discovering a passion for wood-fired ceramics in France.
Jennifer works from her studio on the edge of Dartmoor in South Devon - a quiet space to develop her practice. She makes vessels inspired by ancient potters who remained closely attuned to their natural environment.
Vessels are hand-built from black, red, or white stoneware clays, using pinch and coil methods to preserve every mark and impression in the soft material. Using only a few simple tools, the process is slow and rhythmic. Surfaces are coated with thin layers of slips and glazes. The pattern left by the pinching process is accentuated as the glaze pools into the hollows. The colours are subtle, with occasional flashes of vibrant colour, all to be found within nature’s palette. Pieces may be fired several times, until a particular quality of colour and texture is achieved.
Rosalie has always been inspired by forms and textures in the landscape and seashore, especially chalk cliffs and flint seams found locally. These have been starting points for textures on her pots.
Growing up in communist Poland, Ania’s everyday life was underpinned and surrounded by stark, grey concrete structures – brutal, imposing, and unavoidable. This architecture was raw, substantial and woven into the history and fabric of the country and her upbringing.
