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.
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.
Sophie MacCarthy has always been drawn to random scatterings of leaves on the ground. Scatter and flow, rhythm and movement are consistent themes in the decoration of her earthenware pieces, along with a bold and joyous approach to colour.
David was born in South London and trained in Graphics and 3D design. After working in art education for many years, specialising in ceramics, he took early retirement to concentrate on his own work and established his own workshop in the Forest of Dean where he now produces a range of hand-built ceramics.
Canada born Malory gained a Bachelor of Fine Arts, Major in Ceramics, Minor in Art History in 2016 from NSCAD University (Nova Scotia College of Art and Design).
She makes one-of-a-kind sculptural vessels inspired by the artistic movements of the 17th and 18th Century. Her work is a contemporary interpretation of this period, of objects that focus on extravagance and specificity. More often than not, her pieces are designed for flowers.
Working with clay allows Sue a secondary voice, a line of communication through form. Her work explores the fragility and hidden strength found within the natural world.
The slow repetitive hand-building techniques she uses to create her pieces offer a considered way to develop the work as each piece calmly grows. Deliberate junctions are made by breaking and re-joining the form where collars or shoulders then evolve. Surface markings are infused into the work during the making, with slips and oxides being applied throughout the drying stage. Built with a white stoneware clay body, the work may be glazed or left bare.
