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.
Jane’s work is about finding beauty in the ordinary. It’s about the small things and recognising the accidental poetry in the unnoticed and overlooked. Living in the city, this is often found in apparently insignificant details of the built environment - the way a surface has weathered, the juxtaposition of materials, the sculptural qualities of found forms.
Christine-Ann trained at Harrow School of Art and Technology with Mick Casson (1971-73), then worked with David Leach. In London, she started her own workshop as a member of the Barbican Arts Group (1975-83) and in 1976 became a Selected Member of the Craftsmen Potters Association and the Society of Designer Craftsmen. She now works from her home, a converted chapel near Frome in Somerset.
Being brought up close to the Yorkshire Sculpture Park has been a gift and an education to James from a very young age. The aesthetic of Barbara Hepworth’s work is almost ingrained in him, as though it were the basis of his consciousness of texture, proportion, line and form. After completing a foundation course at Dewsbury Art College, James spent two weeks in the ceramics department working with renowned Raku Ceramist David Roberts. He was immediately drawn to clay as a material. Later, upon graduation from Loughborough and then the Royal College of Art in 2001, James set up a studio in London for several years before returning to his native Yorkshire in 2005.
Prue is a member of the Art Workers’ Guild, where she was Master in 2014. Her work sells widely, in the UK, USA and Japan, and she has been given numerous solo shows. Prue makes press-moulded earthenware dishes, decorated with quotations and images illustrating the ways of the world – witty, friendly or subversive.
All Francis' work is thrown using stoneware clays and is reduction fired, increasingly turning to salt glaze for his desired surface. Functional pots are his main concern, pots made for use in daily life, often giving a nod towards other historical objects, not necessarily made of clay, featuring utilitarian components now ultimately defunct but repurposed as decoration. He uses a muted palette of glazes and seeks a balance between looseness and definition in his forms.
