Marina Bauguil creates handbuilt, intimate, figurative pieces which explore creative traditions of Earth and Spirit.
Daniel Chau creates carefully sculpted porcelain vessels. His uniquely textured, thrown works, speak of a path paved with memories.
Moira Goodall’s hand built, smoke fired vessels are inspired by the Essex coast and saltings. Contemplative and tactile they capture the soft estuary landscape.
Björk Haraldsdóttir’s background is in architecture and her striking monochrome work echoes this with her natural forms reflecting her Icelandic heritage.
Paul James’ work focuses on the simplicity of the raw material, revealing the natural beauty and refinement of the clay body.
Jaeeun Kim’s bright illustrated ceramics are informed by art therapy practices, particularly the ‘House-Tree-Person’ method.
John MacKenzie makes vessels which express the intimate, tactile nature of clay whilst telling a story about the volatile and extreme processes which have formed them.
Ania Perkowska’s work finds its foundations in a childhood growing up in communist Poland. It draws on the same rawness but seeks beauty in the simplicity of form.
Birgit Pohl makes wheel-thrown, hand decorated porcelain pots exploring the balance between precision of form and fluidity in surface decoration.
Amanda-Sue Rope’s work incorporates wheel‑thrown and hand building processes and is inspired by the geometry and richness of the built environment.
Jessica Thorn’s latest collection of porcelain plates showcases the importance of convivial connections between ceramics, food and community, which is at the heart of her practice.
Kate Windibank’s creative practice involves a continuous investigation of form and surface with her sculptural ceramic vessels being abstracted geological formations.
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Adam Frew works in porcelain, creating thrown functional and large one-off pots. He revels in the spontaneity of throwing, the speed of production, seeking to reflect this energy in his distinctive mark making. These marks are continually evolving, but are always energetic and confident.
Adam works in contrasts: of lines or washes, glazed and unglazed, blues and oranges or reds and more recently, applied ridges. “A sense of energy has always been central to my work. Working with the clay in a way that is fluid and quick, and doesn’t require much reshaping.”
Charles Bound ‘s work is unconsciously influenced by significant periods of time spent in the USA, Africa, and the UK. Loose and elemental, it reflects the rugged landscape of Wales, particularly of the farm environment where he lives and works today.
Akiko Hirai makes largely functional ware using the Japanese tradition of allowing the clay itself to show the way in which it wants to be fired. She tries not to control her materials but to let them and the unpredictable environment of the kiln dictate much of the resulting shape and colour of her work.