Since leaving Camberwell College of Art in 1998 I have been primarily working with hand built porcelain. My work addresses the boundaries between function and decoration. Form is paramount; function is a driving motivation, but it is the aesthetics of a piece that are key to my making. My work is concerned with the simplicity and beauty of the clay and incorporating pattern, texture and glaze to create subtle, unique variations. Thinly rolled clay and the varying size of each vessel allows the clay to move in a tense yet natural way, the resulting movement being integral to each piece.

For three decades, Kay Aplin has made a career as an architectural ceramist, producing a distinct range of site-specific commissions for the public realm around the UK and internationally. Her designs are typically situated in town centres, parks and new developments and she specialises in landmark features clad with stoneware press-moulded relief tiles.
Since 2013, Kay has been developing large-scale wall-based installations; international exhibitions include Japan, Korea, Portugal and Denmark.
Kay’s work responds to place, the legacy of a background in public art. Concepts evolve from the surrounding environment and through observing detail and pattern within architecture nature.
In recent years, Kay has been working with microscopic imagery of botanical specimens. Her process involves using a microscope to uncover hidden details in flora which are magnified to reveal highly textured designs that become the basis for her porcelain tile-based compositions. During this time, Kay has been experimenting with wood firing. She is fascinated with the unique and unpredictable surface textures that result from firings of up to 6 days in duration. In 2011, Kay initiated her award-winning project The Ceramic House, a pop-up gallery space, her home and living showcase of her work. Through this avenue, she has built a reputation as a curator of contemporary ceramics, with increasingly ambitious projects that match the unstoppable spread of tiles throughout the house.

I have been lecturing and making ceramics vessels for over thirty-five years, and have been a Fellow of the CPA for about thirty years. My work explores our relationship with the landscape, and experiments with how we view it. I work with vessel formats: combining different clays, glazes, textures and colours which challenge the viewer’s preconceived idea of landscape. The vessels represent profound arguments concerning an individual’s perception and memory of an ever-changing landscape. My work is a combination of structures and forms interacting with man made elements, provoking the onlooker to question the value of a vessel as a piece of sculpture. Rims, handles, lips and balance are commonplace within traditional ceramics, yet I enjoy using these elements in a unique integrated way which elevates them beyond their own identifiable function and so gives them another meaning. The finished pieces are recognised as jugs, bowls, vessels (and lately plates). My vessels incorporate three different types of clay, which are then mutli-glazed and fired (up to five times) to build up a rich vocabulary of tones and colours, highlighting my unique surfaces which is a characteristic of my work. Based in Cenarth, in rural West Wales, visitors are welcome to my studio any time, where you can see work in progress as well as a large selection of my ceramics.

Gail Altschuler works from her home/studio in North London. Drawing inspiration from sketchbook observations of life. Gail’s ceramic work is illustrated with her line drawings of people, plants and images from art history. Building her pieces by hand, in porcelain she fires them to 1220ºC. The process involves using many graphic procedures, combing Mishima, inlay techniques, with sgraffito and coloured washes, all under a transparent glaze. Porcelain mimics the whiteness of paper revealing the crisp lines with a sharp, vividness that she enjoys. Gail first became interested in ceramics while a school student. She studied Art and Design, Fine Art, History of Art and has an MA in Art and Design Education. She has taught ceramics, art and art history to adults, teens and children. Gail worked with art curators and art consultants creating colourful abstract monoprint silkscreens for many years, which were used in hotels and offices. Her work is widely exhibited across the UK and abroad, including in Japan, the USA and South Africa.

“I aim to blur the lines between Fine Art and Ceramic Craft. I use clay and porcelain, as my canvas, creating sculptural slab-built vessels and illustrated plates. The themes include masks from different cultures, musicians, at the café, at the beach, at the Met and conversations across time." - Gail Altschuler

I am a ceramicist working in South Devon. My studio is situated on the edge of Dartmoor, a quiet space to develop my practise. I make vessels with a timeless simplicity, inspired by the ancient potters who remained closely attuned to their natural environment.

The vessels are hand-built from black, red or white stoneware clays, using the pinch and coil methods. These ancient techniques produce a different quality to wheel thrown work. Using only a few simple tools, the process is slow and rhythmic. The form of each vessel grows organically, allowing space to think and modify. Each coil is finely pinched out, before a further is added, in a rhythm that creates a distinct pattern. I use simple, wooden tools to gradually expand the form from the inside. I coat the vessel surface with thin layers of slips and glazes. The pattern left by the pinching process is accentuated as the glaze pools into the hollows. The colours are subtle, with occasional flashes of vibrant colour, all to be found within nature’s palette. Pieces may be fired several times, until a particular quality of colour and texture is achieved.

Clay has a memory. Every mark and impression in the soft material is preserved in the finished piece. The intimate making process remains.

Based in north Shropshire, close to the Welsh border market town of Oswestry, I have been potting for more than twenty years now, focusing on low firing techniques, especially resist Raku in the early years. However, more recently, my work has been exploring new themes and less hazardous methods of firing.
I now incorporate my lifelong love of pattern and texture into the work using velvet underglazes to create bold colour variations.

I work with grogged white earthenware using all making methods, often combining techniques to create composite forms – moulded sections with slabbed additions, thrown sections with coiled additions etc.

Inspiration for form and pattern is drawn from many sources but I have an endless fascination with birds which feature strongly in a stylised form, along with botanical imagery. Much of the imagery I use is drawn from a love of antique textiles but I am also strongly drawn to design from the 1950’s so this too influences the work.

I am the author of 5 books about ceramics and currently working on the 6th. Writing is a different discipline which I enjoy because it involves much research and as a result expands my knowledge of clay processes.

Visitors are welcome to my workshop but will need guidance to find it so please call in advance.

Felicity Aylieff has an established reputation as a maker of large-scale, sculptural ceramics. Having worked from her studio in the UK for over three decades, 2005 saw her undertake an ‘incredibly liberating’ artist residency in Jingdezhen, China, the world famous capital of porcelain production. It was to be the beginning of a lasting collaborative relationship with factories in Jingdezhen, where she now has a studio and makes both small and monumental porcelain pots, the largest standing at over four meters high. Her work shows her passion for material and process through its use of colour, pattern, and historically informed decorative techniques. Felicity has a teaching career that spans over 40 years and is currently Professor of ceramics and glass and research at the RoyalCollege of Art, London. Her work is held in numerous international private and public collections including the Victoria and Albert Museum, London and the Museum of Fine Arts, Boston, USA. She is currently planning a major solo exhibition at the Royal Botanic Gardens, at Kew, in London which will open in late 2024. She is represented by Adrian Sassoon, London.

I have been making pottery for more than forty years – a production thrower taking great pride in the ability to produce quantities of domestic stoneware quickly and efficiently and I love it. It’s a joy watching people using my pottery and using it myself. I also have many pots made by fellow potters which I love to use.
However at this point in my life, not far from eighty years of age, it feels like a time for change and therefore I have just sold my large gas kiln and replaced it with a smaller one.
My ‘Rukweza’ domesticware, which I have made for many years, is to be phased out and replaced with short runs of individual pots. Still useful I expect but I will try hard not to make matching sets! The same family but not identical - a challenge! I may even try my hand at sculpting something. I will certainly be re-visiting porcelain which I met some years ago and loved it - a very exciting life ahead!

I consider myself as having a modernist creative sensibility in developing my ceramics practice. I aspire to embody simplicity of form, balance, and an integral relationship between form and surface, interior and exterior.
I see my pots as containers of distilled thoughts, moments arrested in time expressing the narratives of their own making – objects of contemplation.
I am a full-time senior lecturer in Ceramics at Cardiff school of Art & Design and have divided my time between teaching and working in my home studio.
Making processes include throwing, turning, applications of terra sigillata, sawdust firings & gilding.