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.
Ant first encountered pottery in primary school. His teacher, Mr Wright introduced him to clay and planted the beginnings of a lifelong passion. He started out as a science teacher but gave up teaching in his late twenties after years of evening classes and moved to Lincolnshire to set up his own pottery workshop.
Josefina is a Colombian born ceramicist living and working in London. She gained a BFA in crafts from The University of the Arts, Philadelphia, under the guidance of world-renowned potter, James Makins.
Many years ago, Harriet was inspired by an article by Dick Lehmann about carbon trap glazes. She has been exploring this intriguing glaze ever since. She believes that all the potters who work with carbon trap seek different qualities and achieve quite distinctive effects even though they may use the same recipe and fire to the same temperature in the same kind of kiln. The glaze is unusually responsive to the atmosphere in the kiln and even to the weather as it dries before firing.
Duncan Ross makes thrown and burnished vessels using many layers of fine terra-sigillata slip with resist and inlay decoration. His work is represented in many public and private collections around the world, notably the V & A and Fitzwilliam Museums in the UK, the American Museum of Ceramic Art in Pomona, California and the Mint Museum in Charlotte, North Carolina, US.
After a career in retail, Barry discovered the joy of working with clay through evening classes, and soon realised he wanted to explore further and learn as much as possible. He then gained a place on the ceramics course at the University of Westminster, Harrow.
Kate creates sculptural vessels which explore the transformational nature of time on human experience. Her practice involves a continuous investigation of structure and surface, with particular emphasis on ceramic materials, fragmentation and transfiguration. Kate’s making process consists of the tearing, breaking and joining of clay to create organic forms with undulating edges, fault lines and fissures.
