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.
Dan Kelly trained at Camberwell School of Arts and Crafts where Colin Pearson was an initial influence, encouraging him to develop his throwing technique. His stoneware pots are defined by the way he manipulates them - cutting and reshaping by hand.
"In my work I explore ideas around the half-forgotten memories and images that persist from childhood – perhaps a vintage wallpaper, the stylised narrative of my Mother’s Willow Pattern plates, or the familiar shape of an opened sardine tin. My aim is to bring these elements together in a finished piece to combine a gentle nostalgia with the absolute, archival permanence of the ceramic medium."
Daniel graduated from the Harrow Studio Ceramics course in 1991, then had a shared workspace space at Kate Malone’s Balls Pond studios in London before returning to work as a technician and studio manager on the Harrow ceramics course. In 1997, he moved to West Wales to set up a studio on a smallholding where he has continued to develop his work and firings for the past 23 years. Daniel exhibits widely across the UK, Europe and internationally.
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.
Karen throws carefully considered porcelain pots for everyday use. Her forms are elegant yet robust: these are pots to be held, filled, drunk out of and eaten from. The purposeful use of one material (porcelain), a single creamy white glaze, a deliberately restricted vocabulary of form and the process of repetition throwing combine to create both unity and diversity in her work.
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.
