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.
David had no artistic or ceramic history in his family, nor did he formally study ceramics. He discovered ceramics by accident as an element in his teaching degree whilst at Bretton Hall in the late 1960s. Similarly, his work in raku was appropriately the result of a serendipitous encounter with an American raku potter in the mid-1970s. David states that due to persistence, natural talent and support from colleagues, friends, and family, especially his wife Jan, over the past 40 years he has established himself as a leading international practitioner in raku ceramics.
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.
Loretta began her practice in ceramics via a career in graphic arts, textile design and sculpture. During pregnancy, she found working on sculptural forms too heavy and moved across to ceramics. That was the start of her fascination with the medium as it allows her the freedom to explore her enduring passions of form, colour, texture and mark-making.
After a career in social work, Rachel moved to her partner’s home country of South Africa where her two children were born. The energy and beauty of the landscape, and the people, rich in making and creativity, rekindled her own love of art, architecture, design, and creativity.
In his youth Peter collected (mainly damaged) Chinese Kangxi and 18th Century European porcelain, regularly visiting Portobello and Bermondsey Market at 6am. His making came later, but is influenced by the pieces he bought, studied, and has loved over the years. These pots have of course been themselves influenced by earlier ceramic, silver, and pewter forms.
Emma’s ceramics practice is built on notions of what is known as Emotionally Durable design. She uses the making language of ceramics and a design sensibility to make work which is contemporary and relevant over time.
