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Championing the very best independent ceramic makers for over 60 years

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.

 

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Meet Our Makers

All of our makers are members of the Craft Potters Association and each of them have a story to tell.

Jane Sheppard

Jane is a self-taught ceramicist and began coiling and smoke firing over 30 years ago. She worked for many years as a lecturer in art specialising in ceramics and finds inspiration in neolithic landscapes and artefact.  Living on the Somerset/ Wiltshire border provides rich source material.

The meditative simplicity of coiling is a fundamental part of her practice.  Jane is fascinated by the universality of clay and how it lies at the heart of the human experience.  She travelled widely in Africa researching the spiritual use of clay and visiting remote pottery communities, running workshops in the Namibia and Kalahari deserts with funding from the British Council.

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Kate Schuricht

Kate studied 3D Design at the University of Brighton. After graduating, she participated in an international ceramic residency in Japan where she worked alongside established Japanese, Korean, and American artists. On her return, Kate set up her ceramic studio in London where she worked for nearly ten years. She now works from her garden studio in Kent making raku and stoneware pieces.

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Philip Wood

Philip Wood has been making pots for over 40 years. Specialising in earthernware, he creates handmade pieces to enhance the lives of those around them.

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Carolyn Tripp

Inspired by a Chinese bottle gifted to her as a child, each piece Carolyn makes assumes its own identity with the application of transferred decoration. Collected imagery and text tell stories from lives past and present centring around the human condition and covering themes both significant and trivial.

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Lisa Katzenstein
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Sarah Jenkins

There was a time when Sarah’s work referenced landscape more directly.

Landscape is still pivotal for her, but now in a more internal, abstracted and oblique way.
The clay structure is the earthy foundation, the surface marks, colours and textures are
transient moments of weather and light, season and time.

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