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.
Terry was born in Abergele in North Wales and is a graduate of the seminal Harrow Ceramics course, where he was taught by Victor Margie and Mick Casson. He worked with Denise and Rosemary Wren in Surrey before returning to North Wales in 1978 where he set up a studio with his wife Bev Bell-Hughes in Llandudno Junction.
His work is primarily in thrown, high-fired domestic pots, reflecting influences from both Oriental and British country ware.
Barbara Gittings’ smoke fired, nerikomi porcelain vessels are quiet, contemplative and sensual, as she wants anyone looking at the work to want to touch it and be drawn in.
Tiffany Scull works from her Dorset studio based on the beautiful Isle of Portland creating ceramic forms decorated by hand with detailed sgraffito drawings of many different plants and animals from around the world. She started her journey and development of using sgraffito 20 years ago and has been a professional ceramicist for over 18 years. Over time she has developed a very distinctive and unique way of painting with clay slips, carving and using sgraffito to draw her designs onto each form.
Toni’s work and ethos is centred around the idea of ceramics and its strong association with craft – as a material and its context within the fine art spectrum. He is interested in the history and connotations of porcelain and terracotta. The materials as symbols of trade, status, function, hierarchy; all are factors which correlate with the constant debate regarding crafts and its position within today’s society.
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.
Sue’s multidisciplinary conceptual practice comprises stand-alone pieces, installation, film and tableware, collectively defined by a distinct language. Current work is rooted in traditional techniques, thrown forms made on the wheel, firing in real flame kilns and using natural wood ash deposits and the reduction flame to add unpredictable embellishment.
