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.
Sasha Wardell has been working in bone china since 1982. Her formal training in ceramics included both undergraduate and postgraduate degrees and industrial training secondments to L’Ecole Nationale des Arts Decoratifs, Limoges, France, and the Royal Doulton design studio, Stoke on Trent, UK.
An industrial approach to the traditional bone china manufacturing process has strongly influenced the way in which Sasha presently works, reflecting her fascination for methods and materials which present a challenge. It is for this reason that bone china, with all its idiosyncrasies, has remained her favourite material.
Penny Fowler is a London based potter whose work reflects 21st century living in the capital. Using porcelain and bone china clays, her work is characterised by clean, precise lines and forms using a strong palette.
Alastair has a lifetime of experience as an artist/maker, teacher, mentor, and plantsman.
He was taught by Emmanuel Cooper, Walter Keeler, Dan Arbeid, Richard Slee, Mo Jupp, Robert Kesseler, Gillian Lowndes, and Gordon Baldwin, etc. Gillian and Gordon in particular were pivotal in transfoming his thinking and ambition.
Carol works from her home studio in rural Angus, with views out to the foothills of the Cairngorm mountains that offer daily inspiration. She is a ceramics graduate of Grays School of Art in Aberdeen and has been running her ceramics studio since 1991. For 15 years she ran her hand made tile studio and gallery in Edinburgh, gradually developing her practice to become an exhibiting artist.
John has been making stoneware pottery in the North Lancashire village of Yealand Redmayne for forty years. The firing process requires a temperature of 1320c, and a smoky/reducing atmosphere in the kiln, which results in rich glaze colours and exciting unpredictable effects on the pots. Most of the pots are classically simple functional shapes, thrown on the wheel, but John occasionally alters the freshly thrown pots to produce one of the signature forms for which he is well known.
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.
