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.
Richard Phethean is a long established professional potter whose work has been exhibited and collected widely across the UK and Europe. He is a Fellow of, and recently retired as Chair of the Craft Potters Association, a member of the Cornwall Crafts Association and of the Penwith Society of Artists.
Andy was born and raised in North Staffordshire, aware of the nearby manufactured ceramics and the historical legacy of ‘The Potteries’. Beyond pottery lessons at school, Andy undertook a vocational craft-based course at the University of Derby.
Jane was born to a family of artists, creatives and potters. Growing up in the Suffolk countryside, her upbringing was unconventional. With little formal education, Jane left school early and entered a life of art, in keeping with family tradition.
Priscilla was born in Cape Town, South Africa and attended the School of Art in Durban before setting up her own ceramic studio in England in 1968. She spent a decade in England before moving to Denmark where she has lived and worked since.
Priscilla makes porcelain pinch pots with graphic surface etchings revealed in underglaze. Her monochrome pots are often wood-fired.
Tim works from his studio/gallery and garden in an East Devon village, making and curating exhibitions and occasionally writing. It’s a combination of the immersion in his local environment with the many invitations to exhibit/lecture around the world that has influenced his work for well over forty years. Some of Tim’s favourite adventures have been in China, India, Australia - and many times in Japan, which has reconnected him with his family history in that country, which stretches back almost 150 years.
Fascinated by process and enhancing a technique associated with mass production, she explores multi-layered slipcasting to create unique objects. These take the form of individual pieces and collections of curated works, which blur the boundaries between the usable and the purely decorative. With a minimal aesthetic, considered forms and refined colour palette, the work is highly tactile and the considered simplicity gradually draws attention to the subtle details.
