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.
Gaynor Ostinelli and Paul Priest, or Ostinelli & Priest, are well known for their animal sculptures which draw on both domestic and wildlife. Exhibited around the world, their work is represented in numerous galleries, public and private collections in the UK and overseas. The animals they sculpt varies as their subjects, and the demand for the work, expands.
Born and raised in London, Diane graduated with a BA (Hons) in ceramics in 1988. It was during her foundation course in the 1980s that she fell in love with clay. It lit her up, and her lifelong passion began. Initially she was drawn to how immediate, tactile and responsive it was, but it was during her degree at Farnham that she discovered how truly versatile clay is as a creative medium for artistic expression.
John Pollex has carved his own niche into the world of studio pottery. Translating his interest in Zen calligraphy into the spontaneous and mesmerising display of colour his work is known for today.
Nicola’s pottery is the culmination of 35 years making ceramics since studying Painting at Central School of Art and training at Aldermaston Pottery with Alan Caiger-Smith. She continues to work in tin-glaze, having perfected six main colours from vibrant coral and yellow through vivid greens and blues to soft purples. Her brushwork designs are inspired by the natural world, predominantly leaves, flowers, fruits and birds also sea creatures that all dance over the pearl white surface.
As a rebellious schoolgirl, Tina always knew that she would go to art college as she absented herself from her maths lessons to go to exhibitions. In 1974, she commenced her BA in Ceramics at Bristol Polytechnic with a strong 2D portfolio but hardly any experience of working with clay and she found it challenging. Nevertheless, she was drawn to it because it was the only material which was so malleable, human, primal, intimate, flexible, fundamental, and could be adapted to suit all personalities.
Emma’s ceramics practice is built on notions of what is known as Emotionally Durable design. She uses the making language of ceramics and a design sensibility to make work which is contemporary and relevant over time.
