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.
Informing and framing his ceramic practice are a range of sources including the processes of walking the coast, swimming along its shore, gathering objects, materials and studying its intertidal ecology and geology. Images, motifs and gestural marks brushed or drawn into the surface of both his functional pots and the sculptural vessels can be seen as direct traces of his phenomenological experience.
Jim Malone has been making pots for over forty years, gradually establishing an international reputation. Having exhibited widely over many years, both in Britain and abroad, Jim's work is represented in numerous private and public collections, including York Museum and Art Gallery and the Victoria and Albert Museum, London.
Adela studied the natural sciences and her work reflects a depth of observation of the natural world. Universal patterns, textures, and forms in nature, where science and art are inseparable, were Adela’s constant source of inspiration. She was particularly drawn to fragmentation and erosion, which she attempted to incorporate in her work, allowing fortuitous accidents and influences from the subconscious to enrich the process.
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.
Anthony has been making pots for over forty years following a BA at Cardiff University, where he had the opportunity to build a salt kiln and learned to throw. These two things have been central to his making ever since. He returned to Cardiff to complete an MA twenty years ago and focused on rekindling his love of vapour glazing. He switched to soda firing when it was no longer possible to salt glaze at Cardiff.
