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.
From an early age Penny enjoyed playing with clay at home as her mother had a small pottery studio. However, it was not until she lived in Japan in her twenties that she became more seriously interested in making pots.
Anthony has been making pots for over forty years following a BA at Cardiff University, where he had the opportunity to build a salt kiln and learned to throw. These two things have been central to his making ever since. He returned to Cardiff to complete an MA twenty years ago and focused on rekindling his love of vapour glazing. He switched to soda firing when it was no longer possible to salt glaze at Cardiff.
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.
Jim Malone has been making pots for over forty years, gradually establishing an international reputation. Having exhibited widely over many years, both in Britain and abroad, Jim's work is represented in numerous private and public collections, including York Museum and Art Gallery and the Victoria and Albert Museum, London.
Craig was born in Glasgow, Scotland. He graduated with a Higher National Diploma in Ceramics at Harrow College, then gained a BA(Hons) Fine Art specialising in Ceramics at Portsmouth Polytechnic. He has taught extensively and became a professional member of the Craft Potters Association in 2005.
Julian first made a coil pot at school in 1968 and was immediately hooked - and very well supported by teacher David Buchanan to pursue his passion in exploring what could be made by hand-building with clay. Other than what he was empowered to discover at school, he had no formal training.
