Gaby is a London-based potter and artist. After working as an academic researcher in child psychology, followed by several years in advertising, her need to ‘make’ led her to train as a potter, firstly at Camden Arts Centre, and then on the Ceramic Degree Course at Harrow, in the early 1990’s. Since 2017, Gaby has been a member of the communal studios of Rochester Square in Camden Town, London.
Gaby dislikes the way our education system encourages people to think of themselves as either good at arts or sciences. Her belief is that this binary approach is simplistic and restrictive, and that some of the most exciting creative outcomes come from a combination of both the scientific and the artistic.
Gaby throws her pots at the wheel. For many years, she has focused on ‘Alternative Firing’ techniques, specifically Naked Raku and Saggar Firing. The surface of her pots is unglazed, and the surface decoration is created using smoke and a variety of metals. Her surfaces are burnished until they are pebble-smooth and tactile.
She is currently absorbed in patternmaking using the saggar firing technique, generally known to yield random results. However, through ongoing experimentation, Gaby has developed a saggar technique which allows her to create controlled designs.
This rigorous process requires both a scientifically enquiring and creative mind.

"My vessels explore abstract patterns drawn from nature’s curves and angles. In my pieces I strive to create a visual balance between form and decoration, either individually or in harmony together as a group. Each piece is sanded after firing to create a smooth tactile surface". Georgie studied Workshop Ceramics at Harrow from 1993-96. She ran her studio at The Chocolate Factory in Stoke Newington for ten years before moving to Surrey where she now works from a studio in her garden.

Margaret Gardiner works in porcelain making decorated and textured domestic ware and individual pieces.
She uses 4 different techniques: throwing, slab-building, extruding and slip-casting then vapour-glazes with both salt and soda at 1300c, and fumes with stannous chloride to create random areas of lustrous iridescence.

Coiled Vessels with vitreous slip or burnished terrasigillita.

My smoke-fired, Nerikomi Porcelain 'Vessels' are quiet, contemplative, sensual, I want anyone looking at the work to want to touch it and be drawn in.
Nature achieves multi-layered effects via the laying down of strata, weathering and erosion. I'm fascinated by the geometry in nature, especially as growth and random chaotic forces skew and distort the initial perfect symmetry. I'm constantly exploring these balances between symmetry and asymmetry, perfection and imperfection in my work. I'm drawn to irregular repetition, primitive mark-making and soft, earthy colours. Images and patterns sink into the subconscious, to be released when one engages with the clay and the submerged information emerges to dictate the work in progress.
I endeavour to allow for the accidental in my process and to create work that embraces chance.

I have been throwing pots on the potter’s wheel since starting out on a career in ceramics in South Africa in the 1980’s.
The simplicity or complexity of shapes that can be created on the potter’s wheel has constantly challenged me to explore and refine this technique further.
My work consists of traditional classical shapes presented in a contemporary style. Surfaces are burnished and left for the fire to create colour and markings on the smooth receptive clay skin of the vessels.
I use a variety of “naked raku” firing techniques for my work. Saggarfirings with salt, copper and sawdust give subtle hues of colour to the burnished surfaces of the vessels. I also work with black and white horsehair and feather-carbonization and often combine different techniques through multiple firings. Recent work shows the results of experiments with ferric chloride and foil saggars.
I bisque-fire my work in an electric kiln and use a gas-fired raku kiln for the saggar-firings.
Inspiration comes from my love for classical concepts of beauty, continuous links to my African roots and the pure joy of clay as a medium of expression.

With an MA in Ceramics from the Royal College of Art, Tanya’s process is practice led. Developed from traditional methods and disciplines Tanya has honed her skills over the last 15 years and uses dynamic throwing, cutting and assembling techniques to create large cylindrical shapes. Impactful both individually and as a group, her vessels create expressive, vivid landscapes and fluid, architectural forms.
From years working on sailing yachts, travelling the world and coastal living, Tanya has absorbed the abstract qualities of colour and shape, particularly at sea and uses this to inspire her art forms and evocative glazes.
Tanya works from her studio in Lewes, East Sussex, as a ceramicist, exhibiting at major shows Internationally and within the United Kingdom. She also works to commissions and collaborates with other companies.

My work is strongly influenced by sense of place - the soft Essex saltings landscape, the quality of East Coast light, and the fleeting and ever-changing nature of life between the tidelines.
My pots are all handbuilt and I control the shape throughout the process as my work grows steadily with each flattened coil. Finding a balance in the form between manmade and organic is always foremost in my mind.
The art of smoke firing has been central to my work for over twenty years now. During this time I have refined the process, developing my own masking methods and techniques to create detail, depth and movement in the surface. I introduce soft colours with slips and burnish the surface with a stone. The depth of the sawdust firings, from light to dark, allows me to set the tone of each piece.
Every piece represents a balance between the random, spontaneous element of the smoke firing and intended design. The aim is always to capture the essence of the landscape at large and small scale.
Each vessel is finally as individual as a stone on my beach, an entity that is always part of a larger whole, but which carries and communicates to others the spirit of place that inspires my work.

The work explores the way that girls are constrained from birth to conform to an appearance and code of behaviour, to present a perfect face, and maintain the expectations of others. The use of porcelain, or of stoneware with layered disrupted surfaces, describe the vulnerability beneath.

From the moment we are born gender can dictate our future. Individual figures show the young child dressed for display, as a plaything for adults, an entertainment and ornament. Looks and behaviour are already prescribed. Stand up straight, smile nicely, say please.

Jemma first trained for a BSc in Engineering Product Design, and worked in the fields of industrial design, production, and architectural model making before becoming a teacher of Design and Technology. With experience in making using a very broad range of materials, for a wide range of purposes, ceramics has become the abiding interest with it’s unique versatility and surface possibilities, the technical challenges and opportunities seem endless.

Being a mother, wife and daughter, as well as a woman working in a largely male field, has led to an examination of the role of the female, and how societal norms can still shape the way children are raised.

The functional items that Carl makes appear to be simple yet much consideration is given to the form of each piece. The sometimes altered work is precisely thrown but with spontaneous making marks.

Complex surfaces develop from firing the pieces with wood - flame and ash painting the work. He uses his own blend of high temperature firing clays which are chosen to promote flashing and glaze effects in the kiln.

Sustainability is important – Carl uses found materials to make glazes and waste wood as fuel.

I make ceramic tableaux which are both conversational pieces and miniature worlds. Largely figurative, the subject matter is often nature-themed and seemingly mythic, while animals and fairy tales weave narrative paths around them,
I appropriate many historical references such as textiles, paintings, texts and people often informing whole bodies of new work some of which are interventions into particular places or buildings.
The figures have elements of adornment and stillness in their doll-like postures They are placed in a context in which to perform, a framework of platforms, plinths, ledges and spheres, which give me surfaces to build on using silk-screening, press molding, transfer prints and glazes.
The pieces are exquisitely decorated with rich colours, patterns and strangely textured glazes.

My work is inspired by how we use rituals to help us feel connected to ourselves, each other and sometimes a higher power. Religions and cultures across the world have used the elements of the natural world in ceremonies and rituals for millennia and it is this connection that has inspired my latest work. The series is called Ego Sum Terra ( I am Earth), which explores the spiritual relationship we humans have with our world. We rely on nature for our existence, our physical, mental and spiritual well being. Essentially, we are nature. My sculptural forms explore the blurring of this boundary. Organic earthy forms combine with ones more ordered and refined. Repeated layers of delicate porcelain sheets merge with and emerge from textured and cracking surfaces blending into one united piece.

My work is about the clay; its pliable, immediate qualities. Like a photograph capturing a ‘frozen moment’ this material when fired fixes forever a gesture, an impression. I work in both Parian porcelain and (separately) heavily grogged stoneware (with body stains and oxides added). I enjoy subverting porcelain’s historic connotations of delicacy and fragility by working with solid forms. Indeed all my work is solid and the marks are created by impressing found objects, their origins occasionally hinted at. How the light interacts with a piece is an important factor in the presentation of the work.
Working in stoneware enables me to work larger and in a more architectural manner. These forms allude to the built environment but deliberately avoid explicit references. In pushing the material to its limits my wish is to explore three dimensional shapes while retaining a real sense of the qualities of clay.
All pieces are solid, hand built and fired in an electric kiln at 1200-1285°c.
My studio is located in Wigan, Lancashire

I was born in Cyprus, my parents were Greeks from Palestine, like many other they thought they would return but they never did. Luckily for me and my siblings we moved to UK in 1964. I was very lucky to go to a good comprehensive school with an excellent Ceramic department. Once I sat on the wheel and felt the clay in my hands, I knew what I wanted to do for the rest of my life.
I have been potting professionally since 1972. In 1990s I started working with porcelain and experimenting with sandblasting influenced by glass artist and friend Danny Lane.
My work is thrown porcelain fired to 1260c and sandblasted, using a variety of masking agents. Since moving my studio from Hackney to Kent I have been working on new work, sandblasting at the bisque stage increasing translucency and experimenting with salt glazing.
Currently I divide my time between potting and gardening.