Adele Howitt
Adele Howitt utilises clay as both a sculptural and technical medium in which to investigate the notions of the living landscape, abstraction and natural patterns. Her continuing research includes drawing, printing, macro photography and microscopic imagery which she studies and develops into clay. Slab work is twisted and turned to add detailed relief utilising the traditional pottery techniques discovered whilst investigating the UK historic potteries.
Jihyun Kim
Jihyun Kim’s work is inspired by Korean cultural heritage. She utilises elements from Korean fairy tales, folk beliefs and superstitions. Raised by her grandmother, Jihyun was taught certain habits and rituals to follow. After moving to a new country she realized how deeply her grandmother’s lessons had influenced her and made her cherish her ancestral teachings. Jihyun incorporates components from these stories into her work, interpreting them into functional and sculptural designs.
Miae Kim
Attracted to the excitement of wondering what a closed form contains whilst drawing on her Korean heritage and experiences growing up in the USA, Miae Kim creates ceramic boxes. Her pieces explore the relationship between East and West, mixing fragments of old Korean motifs, repeated patterns from Korean architecture then mixing them with modern lines and simple patterns of the West.
Russell Kingston
Russell Kingston works in the slipware tradition. His pots are made for the kitchen, oven and table with function at their heart to enhance the everyday cooking and eating experience. His work, while being deeply rooted in North Devon’s heritage and country pottery traditions, has a contemporary freshness to it. Russell’s pots are thrown, slabbed and extruded, using very few tools in order to preserve the human touch and champion the hand making processes, made quickly with confidence, capturing the energy of the making.
Liz O’Dwyer
The wheel thrown porcelain pieces Liz O’Dwyer creates are both functional and sculptural. The surface of each piece is linked by a continuous line that leads the veiwers’ eye over the contours of the form, from the outside surface, over edges, around the interiors and under the base. These crisp cobalt lines, alongside the purity of the porcelain, create a striking contrast that cuts through the surfaces.
Omer Oner
Omer Oner’s artistic practice revolves around the idea of repurposing found objects by regenerating and assembling them into highly crafted ceramic forms. Omer employs mould-making and slip-casting techniques to replicate and multiply a diverse array of discarded materials, providing the artist a wellspring of opportunity and inspiration.
Ella Porter
Ella Porter is drawn to clay’s unique ability to preserve the act of making, as both conscious and unconscious moments of touch are held in the surface of the ceramic object. She explores ideas surrounding the mark of the maker, temporality, trace and place. Her work displays a strong relationship between surface and form and refers to historic ceramic artefacts, social and painting theory.
Jo Walker
Jo Walker creates both wheel-thrown and hand-built ceramics, primarily using the sgraffito technique for decoration. Her work draws inspiration from two distinct sources: the simplicity of modernist architecture alongside the bold, geometric patterns of mid-century design and the fragile beauty of wild plants and flowers.
Deiniol Williams
Ultimately, Deiniol Williams’ primary interest is in creating ceramic forms that push the boundaries of what clay is capable of and deliberately encourages what would commonly be referred to as a fault or an accident. The use of fluid glaze heightens the movement in the work and counterbalances the splits and cracks that appear as inclusions distort, melt and tear the structure of the clay.
Michelle Young-Hares
Michelle Young-Hares’ ceramic sculptures aim to communicate a meaningful connection to the natural world through a joyful expression of form, texture, and pattern in clay. The artist has a particular interest in botany and plant forms and draws imagery from their reproductive organs which she find to be exquisitely beautiful and innovative in design.
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Sue’s work draws on the quiet resilience of trees and bones—forms shaped by time, marked by fragility and carrying memories of growth and decay. Through slow, receptive hand-building, each piece develops as if guided by an internal rhythm. Textured surfaces hold lines like weathered stories, while a soft matte glaze evokes a sense of calmness.
‘My hurt, my joy, my scars, my healing, all shape the work I create in clay.’ – Sue Mundy
Jenny Southam hand builds figurative sculptures in terracotta clay. She delights in exploring colourful gestural mark-making over their surfaces. This painterly decoration aims to echo the emotional resonance of each piece.
“When I enter the studio I am searching for that serene state of absolute absorption that making and drawing can gift us, which we all wish will, in some manner, enrich our audience.” – Jenny Southam
In a career spanning nearly 50 years, ceramicist, Sophie MacCarthy has developed a unique and distinctive personal style. Through her subtle and bold use of coloured slips, painterly brushwork, stencils and wax-resist, she evokes the colours, forms and movements of the passing seasons. Often focusing on the ground, she finds beauty in the accidental compositions created by wind-blown leaves, stalks and detritus sometimes gathered around a storm drain or scattered over concrete and tarmac, juxtaposing the vibrant colours of the natural world with the gritty textures of the urban environment.
‘She has a poetic insight into the natural world’ David Whiting
Throughout his long career Peter has always sought pathways to the development of new ideas. Often this is a slow process, but sometimes a particular event speeds things along.
Partaking of two residencies in China recently, where Peter worked in porcelain at high temperatures, led him to develop a new body of work, made alongside his existing practice to which Peter is still deeply committed.
This new exhibition represents the outcome of Peter’s working practice.
'This exhibition explores objects that express a quiet equilibrium: fragile, shifting forms that exist in a state of delicate imbalance. Their stillness is easily disturbed, as if the act of holding too tightly might cause something essential to disappear. The works reflect an interest in forms that resist perfection, remaining slightly unresolved, unsettled, and quietly alive.' Akiko Hirai