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.
Irena Sibrijns has been a potter for over thirty years. Inspired by an avid interest in 20th century English decorative arts tradition Irena creates exquisite, and entirely unique, ornamental and functional pieces with equal enthusiasm.
Tricia graduated from Gray’s School of Art, Aberdeen in 1985 and after a post graduate year, she worked for a production pottery in the Highlands for three years. While there, she became a principal hand-decorator of pots and developed some surface designs for the range, but also received a grounding knowledge of the ceramics industry and practices.
Dan Kelly trained at Camberwell School of Arts and Crafts where Colin Pearson was an initial influence, encouraging him to develop his throwing technique. His stoneware pots are defined by the way he manipulates them - cutting and reshaping by hand.
After studying glass and ceramics at the University of Sunderland, Craig completed an MA in ceramics at the Royal College of Art. He was drawn to clay for the immediacy of its modelling properties, enabling him to realise his ideas with dynamism. His work is inspired by the elegance of a bygone era, particularly the work of cartoonists and illustrators from the 50s and 60s such as Miroslav Sasek and Ronald Searle, whose economic use of line define characters and tell stories.
Rachel Grimshaw’s sculptural ceramics are about the clay itself. Focusing on its pliable, immediate, qualities, Rachel likens her pieces to photographs capturing a ‘frozen moment’ in time, her pieces are fixed in a forever gesture once fired.
Having practiced as a ceramic artist since 2001, Lowri predominantly creates decorative bone china tableware from her studio in Cardiff.
Lowri's early work was very much about documenting a way of life that was disappearing. She deliberately uses industrial processes to create her work, but on a very small scale. It is the same process that was used to make most of the ceramics that adorned her Nain’s home (grandmother).
