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.
Since 2000 Owen Thorpe has been producing ‘families’ of pots using recurring themes and he has been making bowls and plates with inscriptions. All his work is made using a soft stoneware, high fired with occasional further enamel firings.
Jonathan graduated from Farnham Art School in 1974 and worked for Joe Finch at Appin Pottery in Scotland. He began making once fired domestic ware in a pale stoneware body, guided and inspired by Bernard Leach’s ‘A Potters Book’. He went on to work in porcelain and to decorate with a brush.
In 1999, Jonathan moved to East Sussex where he built a smaller kiln in a more spacious workshop. He began to experiment seriously with reduction fired lustre which had fascinated him ever since he attended a course given by the late Marjorie Clinton two years previously.
Alistair studied ceramics at Bath Academy of Art and set up his first pottery studio in Gloucestershire in 1978, producing thrown reduction fired stoneware for a range of companies. While continuing with his own making he later took on the running of the studio ceramics department at The Royal Forest of Dean College and instigating a series of potters conferences.
Wendy discovered clay on an art foundation course. She went on to study at the University of Central Lancashire in 1998, gaining a BA in 3D Design (Ceramics). Since her graduation, she has continued to teach ceramics and run workshops for schools, colleges and community groups. She has participated in symposiums and workshops in Britain, Europe and America.
Hannah creates both monoprints and ceramic work. There is a theme of interwoven methods throughout; each approach blending into the next, her unique creations embrace their strikingly different techniques. With purposeful brush strokes, stamps, pencil marks and carvings she creates fluid visual landscapes on the textures of canvas and smooth ceramic surfaces.
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.
