Ian Gregory

Ian Gregory's career has taken him into a great many areas of the ceramic spectrum, including salt glazed stoneware, lifesize statuary, raku and mixed media installation. He was one of the first potters to experiment with what has become called paperclay and he is an innovative kiln builder who is able and often does build a kiln in a few hours for a specific piece of sculpture. He is even an accomplished painter and before ceramics became the focal point in his life, he was a successful singer and actor appearing frequently on stage, televison and film.

Ian's ceramic work can been seen in many public and private collections in the UK, Europe and the USA. His most recent work is by far his most challenging, both in production and to the viewers sensibilities. His dogs can be savage, menacing and sometimes sinister as they crouch with exagerated limbs..........

Daphne Carnegy

An apprenticeship in France and several visits to Italy introduced Daphne Carnegy to the delights of earthenware and in particular tin-glazed ware, often referred to as ‘maiolica’. Additional training at Harrow School of Art refined and developed her skills and confirmed her commitment to low-fired pottery.

The attraction of maiolica for Daphne lies in its unique qualities - a softness, depth and luminosity of glaze and colour not to be found in other ceramic techniques, the transformation of the pigments in the firing, and the variations of intensity and texture of the pigments as they fuse and shift with the glaze. The many variable elements – body, glaze and pigment thickness, firing temperature – all conspire to create continual surprises on opening the kiln.

Sasha Wardell

Sasha Wardell is known for her pioneering approach in moving forward the traditional process of bone china production. She is recognised internationally for her work, and her innovative approach, a focus based on taking an age-old craft to a higher level. Her carefully produced distinctive work embraces and reflects contemporary taste and lifestyle. Each piece is individually made using bespoke advanced industrial processes that Sasha has personally developed.

Sasha’s hallmark style, a distinctive combination of pure white slip cast bone china, treated with unique decorating techniques and finished in a carefully chosen palette of muted, subtle colours, has made her work highly sought after by private collectors, museums and contemporary art galleries worldwide.

John Pollex

John Pollex’s pots are, like their maker’s personality, larger than life. His vivid luminous ceramics, essentially vehicles for his abstract love of colour, develop the tradition of slipware in his own inimitable way. He studied at Sir John Cass’s School of Art and then served as a technician on the influential Harrow Ceramics Course before working with Bryan Newman and Colin Pearson. Since 1971 he has lived and worked in Plymouth, and in 1984 changed creative direction, drawn as he was to the colour and verve of contemporary American ceramics. He began to use his functional forms as a canvas for his explanation of strong new vibrant slips, an art clearly influenced by his love of painters like Howard Hodgkin, Robert Natkin and Patrick Heron, as well as his appreciation of Aboriginal, Tibetan, Buddhist and Zen art.
David Whiting

Jeremy Nichols

Jeremy Nichols makes saltglazed domestic pots, specialising in teapots together with jugs, mugs and cups of varying shapes and sizes. The forms have been steadily evolving since 1998 when he started experimenting with open handles as an alternative to the closed loops conventionally used in ceramics. Jeremy's work is influenced by his early interests in aviation and the precision of engineered objects, alongside a more recent interest in contemporary architecture.

Jeremy has worked as a potter since graduating from the University of Westminster (Harrow) in 1997. This followed an 18 year career in Social work. Jeremy's work is both functional and visually arresting with a sense of movement and balance for both the hand and eye to appreciate. The ergonomics of the pot and the clarity of its form are equally important for Jeremy: for a design to be successful the pot must be satisfying and pleasurable to use, whilst at the same time having the power to hold the viewer's attention and interest.

Steve Neville

Based in his central Salisbury studio, Steve Neville is following in his father’s footsteps – a lecturer and potter at what was the Teacher’s Training College of Sarum St. Michael, part of which is now the Salisbury & South Wiltshire Museum.

Drawing on his engineering and fine art background Steve is refining his personal vision of ceramics. While continuing to develop his throwing technique, he brings a refreshingly straightforward approach to his ceramic work which results in elegantly pleasing forms that push the boundaries of utility by making delicate, finely balanced work that defies gravity and use.

Steve uses simple partial glazes to give his porcelain and stoneware subtle hints of colour and design.

Jane Muir

Jane Muir's ceramics are filled with an eccentric humour. They are made with a sensitive human touch that speaks to the viewer, who at once recognises something, or someone in each one. The gentle colours of her glazes allow the rough texture of the clay to shine through, lending a soft, chalky quality to her work. The sculptures themselves are whimsical and border on the absurd or surreal. Birds perch on heads, flowers bloom from shoulders. Other, smaller figures are collected together in boxes, smiling serenely. Her subject matter ranges from large scale figures and animals to tiny birds. Her work offers an uncomplicated and idiosyncratic view of the world.

Jane Muir graduated from the Royal College of Art in 1992, and has been a full time ceramicist since then. Her work has been shown throughout Europe, the United States and Japan, as well as throughout the UK. She lives and works from her studio in Peckham, South London.

Jim Malone

Jim Malone has been making high fired stoneware pottery since the early seventies and also makes some porcelain. He works alone producing a wide range of individual pottery forms.
One of Britain's foremost potters, he has exhibited widely in this country as well as in America, Germany and Hong Kong. He is included on the British Crafts Council index of selected craftsmen and is a Fellow of the Craftsman Potters Association of Great Britain.
Work is all thrown on a traditional Korean type wheel and fired in the oil and wood burning oriental climbing kiln, the latter taking 20 hours to reach the required temperature throughout ( 1350 degrees centigrade in the hottest part of the kiln down to about 1280 deg.C). Constant stoking is required for much of this time.
Many different wood ashes and local minerals are used to make up glazes and these combine to make pottery which is both distinctive and unique to this area.
Firings take place about 4 times a year, but can be less frequent.