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.
Walter Keeler is a British studio potter specialising in salt glaze pottery. Named 'Welsh Artist of the Year' in 2007, Walter's work is held in public collections including Victoria & Albert Museum, American Craft Museum, New York, and the Museum of Modern Art, Tokyo.
Marcio Mattos became fascinated with clay after seeing an exhibition of tea ceremony bowls at the V&A museum many years ago. He went on to train at Richmond College and later for a degree at Goldsmiths College. He presently creates one-off sculptural vessels and plaques in black stoneware and porcelain paper clay with dry-glazed textural surfaces and brushed decoration.
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.
Doug works in red earthenware clay, the pots simply decorated, with appliqué decoration or sgraffito, using a basic palette of traditional slips that are made from natural raw materials. The majority of his pots are thrown on the wheel with some press moulded dishes, decorated with freely trailed lines.
Anna Lambert, a nationally recognised full time maker, makes hand-built earthenware ceramics using various techniques including slab-building, modelling and painted slips. Using a variety of techniques, each of her pieces are entirely unique.
Ruth's pots are built using sheets of soft clay, her dedication to the art and process of making, from construction to firing, has given rise to very particular work. Within this particularity lies a thought -provoking tension. While the pots are structured with great intention and tailored to contain space, their formal concerns are softened by an underlying sensuousness, best experienced by the all -important sense of touch. The vapours that caress each piece in the kiln create an inextricable link between the form and the smooth, rich and complex tones that articulate and enhance the pots' surfaces.
