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.
Daphne Carnegy makes a range of thrown, and sometimes hand-built, painted tin-glazed earthenware which combine an awareness of historical precedents with her passion for plants.
After a long and varied career in design and printing, Judy changed direction and followed her passion for ceramics. At the age of sixty she enrolled for a 3D Craft and Design BA at a local college and graduated with a 1st Class (Hons). Judy went on to gain an MA at the Royal College of Art, specialising in Nerikomi and Kintsugi.
Vanessa's work is influenced by natural patterns, colours and forms found in and beside the sea. Over time Vanessa has developed her own technique of using slip as a resist and for texture to pattern her sawdust fired pots.
Daniel graduated from the Harrow Studio Ceramics course in 1991, then had a shared workspace space at Kate Malone’s Balls Pond studios in London before returning to work as a technician and studio manager on the Harrow ceramics course. In 1997, he moved to West Wales to set up a studio on a smallholding where he has continued to develop his work and firings for the past 23 years. Daniel exhibits widely across the UK, Europe and internationally.
Björk’s professional background is in Architecture and her work remains unequivocally architectural to her eyes and is influenced by her training and profession in many ways. However, natural forms reflecting her upbringing in Iceland and exposure to the extraordinary in nature are also reference points.
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.
