Slab built porcelain tableware with the original blue porcelain glaze. The clay is Royale Porcelain clay.
The blue colour of the glaze comes from very small percentage (less than 1%) of iron oxide in the clear glaze which consists of mainly Potash Feldspar, Quartz and Barium Carbonate. The pots are fired to cone 8 (1260C) in reduction condition.
The workshop is in Moretonhampstead which is situated on the north side of Dartmoor.

Nicola Tassie is a ceramicist whose work focuses on the conceptual and material possibilities of domestic forms. She follows the studio pottery tradition to produce small batch editions of domestic ware which also form the basis of more sculptural still live sets and installations.
She has an ongoing collaboration with the designer Margaret Howell and her work is stocked at Contemporary Ceramic, London and The Wills Lane Gallery in St Ives.
She is a founder member of Standpoint Studios and is Director of Education projects.

My work is handbuilt in earthenware, and has multiple layers of imagery built up through painted and monoprinted slips, linocut inks, glaze, decals and lustres. It’s nonfunctional.
Recent work explores themes of museum taxidermy displays. I'm currently based in Edinburgh.

I live in a small mining village just south of Edinburgh with my two kids and our latest addition, Yuki the mini schnauzer. Originally I come from a small village outside Huntly in Aberdeenshire and studied ceramics at Gray's School of Art in Aberdeen in the mid 80’s. after graduating, I worked in a production pottery in the Highlands for 3 years then moved to Edinburgh to teach and focus on my own practice. After a break from my ceramics practice to focus on family life, I returned to making and I am continuing to develop my work. I have been a resident artist at the Adam Pottery, Edinburgh since 2013.
 
The process of making is as important to me as the end product. The work I am making currently is wheel-thrown porcelain, using domestic pottery themes as inspiration for my teapots, bowls, moon-jars and other vessel forms. Some surfaces are simply glazed with clear and blue tinted glaze, some are punctuated rhythmically inside and outside, some surfaces have intuitive, calligraphic brush marks which serve to compliment the uniformity of the thrown form. The process of throwing porcelain on the wheel, and the physical action of applying decoration on to the surface of pots, are intimate, sensory experiences that sustain me and make the process so meditative and therapeutic.

I am drawn to forms that have become iconic over centuries and I am interested in the compositional challenge that they, specifically the teapot form, present. The process involved in the articulation of handles, spouts and lids, as they take on almost animated human characteristics, is a very playful experience.

Works in stoneware and porcelain. All work mid temperature stoneware and sometimes followed with a further lustre firing.
Production split between commissioned celebration pieces which include lettering and, recently, lots of large painted plates.

With a background in graphics, I have always drawn and designed and love the energy of random lines or marks, from a sketch, painting or found on stones or peeling paint. I still draw and paint, alongside making pots, and I enjoy how a simple line or mark can completely alter a piece and how the same shapes repeated, but with very different decoration, can form a cohesive family.

My work is a collection of thrown, uncluttered porcelain forms. I throw and turn the pieces to a fine finish where I then apply my marks. I work with the chalky surface, applying stains, oxides and slips, splashing and sponging away areas, adding inlaid and sgraffito lines, aiming to create imperfect and unpredictable marks. Most decorating is carried out on the wheel to convey a feeling of movement and spontaneity. I use a bold, but muted, palette on the white clay, giving the hard porcelain the appearance of softness and my work is often described as calm. I leave most of the surfaces un-glazed, which lends a paper-like, tactile quality to the pieces.

I work from my studio in my garden just outside Farnham, Surrey.

Inspired by a Chinese bottle gifted to me in child, each piece I make assumes its own identity with the application of transferred decoration. Collected imagery and text tell stories from lives past and present centring around the human condition and covering themes both significant and trivial. Through tearing and cutting the storytelling becomes abstracted. Visible fragments hint at the narrative creating new meanings offering a connection between maker and observer.

Borrowing from historic ceramic tradition on closer inspection my process gives each piece a contemporary twist. The eclectic shapes and surfaces stand alone, or work in harmony when grouped, capturing the gaze and allowing the viewer their own interpretation.

My work is hand thrown by me in my studio at Wimbledon Art Studios. I like to create shapes dictated by the feel of the porcelain clay I use and am captivated by the bottle shape in particular. Collaring in the buttery porcelain is a joy. Despite its idiosyncrasies and difficulties, l am drawn to porcelain. It’s fluidity and elasticity on the wheel keeps me energized and focussed in the creation of each one of my individual pieces of work.

"My pots are thrown on a momentum wheel where they are manipulated and assembled wet. My focus is mainly on good form that reflects my individual vision. My pots are made for use and enjoyment in the preparation, serving, eating and storing of food and sometimes they can be simply for contemplation".
Work is stoneware, slip decorated and once-fired to 1300C in a wood/gas kiln where it is soda vapour glazed.
I regularly give lectures/demonstrations and workshops throughout the UK and abroad and have written the book, Soda Glazing (A & C Black)
I live in mid-Norfolk, and my studio is open to the public, but if coming from any distance it is advisable to telephone to ensure I am in my studio.

Chris Turrell’s work strives to discover patterns and structures in architecture, nature and art. From Medieval cathedral floor plans, lace work and brutalist architecture, he finds a lifelong obsession emerges from looking at the similarities in repeated forms from across the ages. His work tries to convey a sense of time through layered and distressed surfaces, simple forms and colours. He carefully chooses coloured clays that reference building materials of the past like brick, concrete and blackened wood. He creates component parts from extruded, printed, stamped and inlaid stoneware clays and assembles them in either freestanding or wall mounted pieces.