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

Richard Phethean

Trained in the seventies at Camberwell and in the studios of Janice Tchalenko and Colin Pearson. Originally produced ranges of domestic slipware using traditional tools and techniques, but strived always to experiment with surface and form to create a looser, personal style.

My time as a resident potter at Sibford School has been a productive environment for experiment and evolution.
After a lengthy process of development, the functional roots of my key vessel forms have become increasingly ambiguous. My latest body of sculptural work attempts to combine my underlying love and commitment to the wheel and thrown form, with responses to geological formations, weathering and coastal landscapes. Subsequently I have revisited mug and tea pot making with a new impetus, where playful abstraction and function coexist.

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.

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..........

Jack Doherty

Jack Doherty’s soda-fired porcelain bowls have added new subtleties of colour to British ceramics, their richly nuanced slip-coated surfaces bringing out unexpected rusts, turquoises and oranges on forms of great simplicity. Some of his pots have ribbed decoration, perhaps embossing and indenting, but most decoration is left to the interaction of the kiln flame and copper carbonate.

Having trained at Ulster College of Art and Design and Kilkenny Design Workshops, Doherty eventually moved to England and settled in Herefordshire. Now living in Cornwall, he served as Lead Potter at the Leach Pottery from 2008-2013, and has served two terms as Chairman of the Craft Potters Association. Now, with these responsibilities behind him, he can concentrate solely on his direct and sensual pots.

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.

Kyra Cane

When you choose to invest in an object you also share in the choices that have resulted in its production. For some this will involve design and manufacturing processes, but for me, creating pots is inextricably linked with making things using my own two hands.

In a world where most work relies on collaborative activities, it is extraordinary to be responsible for producing a finished object from beginning to end; simultaneously a great pleasure which is always tinged with the fear of failure.

The materials I use are complex and of the highest quality: porcelain clay, stain, oxides, glaze, paper, paint, ink, crayons, pastels, graphite and charcoal. But the tools and equipment I use are strong and basic, throwing wheels, ribs, wires, scales, bins, buckets, boards, brushes and kilns.

With these I throw, turn, mark, colour, glaze and fire the pots that I make and then recycle the remnants of my precious clay which has been thousands of years in its making.

Akiko Hirai

Akiko Hirai was born in Japan in March 1970. She initially studied cognitive psychology in Japan and obtained her degree before coming to England. She took a degree course in ceramics at the University of Westminster, then went on to graduate from Central St. Martins. She now practises her ceramic art in Stoke Newington, London.

Akiko Hirai makes practical ware using the Japanese tradition of allowing the clay to show how it wants to be fired itself. Her work also allows the viewers to find out the language of the objects in their own ways. She focuses on the interaction between objects and viewers. Her unique approach to ceramic work has had much attention and praise and her work is in demand from commissions in England and world-wide.