Championing the very best independent ceramic makers for over 60 years

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.

 

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Meet Our Makers

All of our makers are members of the Craft Potters Association and each of them have a story to tell.

Richard Phethean

Richard Phethean is a long established professional potter whose work has been exhibited and collected widely across the UK and Europe. He is a Fellow of, and recently retired as Chair of the Craft Potters Association, a member of the Cornwall Crafts Association and of the Penwith Society of Artists.

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Rosalie Dodds

Rosalie has always been inspired by forms and textures in the landscape and seashore, especially chalk cliffs and flint seams found locally. These have been starting points for textures on her pots.

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Ashley Howard

Ashley Howard creates porcelain vessels informed by east Asian and homespun pottery traditions. His pieces draw from his interest in ritual vessels, the spaces they occupy and the ceremonies that surround them.

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Jane Seymour

Jane was born to a family of artists, creatives and potters. Growing up in the Suffolk countryside, her upbringing was unconventional. With little formal education, Jane left school early and entered a life of art, in keeping with family tradition.

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Jin Eui Kim

Jin Eui Kim is an internationally renowned ceramic artist. Originally from South Korea, he now lives and works in Cardiff, UK.

Whilst at Cardiff School of Art & Design, Jin Eui studied the illusory effects of the application of tonal bands to three-dimensional surfaces. He graduated with an MA and PhD in Ceramics.

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Peter Bodenham

Informing and framing his ceramic practice are a range of sources including the processes of walking the coast, swimming along its shore, gathering objects, materials and studying its intertidal ecology and geology. Images, motifs and gestural marks brushed or drawn into the surface of both his functional pots and the sculptural vessels can be seen as direct traces of his phenomenological experience.

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