Ella Bua-In

Ella Bua-In's ceramics are tactile and imperfect, objects meant to be held and loved.
The collection is inspired by the undisciplined shapes and colours of the natural world. Playful, illustrative designs are also integral to Bua-In's ceramics, painted in cobalt oxide and influenced by traditional Chinese brush painting.

Caroline Dickinson

Caroline plays around with a mix of layered shapes and brushstrokes and loves to experiment with different techniques and processes to create an in-depth and textured surface.

Emsie Sharp

Taken from her time in Murano, traditional techniques such as working with lead crystal are nurtured and given a life of their own with bold, imperfect details that reflect a light, strength and beauty identified to Emsie Sharps work.

Joanna Ling

In a world of mass production, Joanna feels it important to cherish the singular which is why every piece she creates is unique, considered and handmade. Her designs tend towards minimalism and simplicity and therefore look at home in most interiors.

The Porcelain Wave Pedestal Bowl with Gold Glaze embodies her signature organic design and intuitive approach to clay, rendering each bowl uniquely distinctive. Its shimmering gold glaze harmonises with the piece's natural curves and contours, captivatingly shifting with the light at various times of the day. This unique interplay of form and glaze underscores Joanna's exceptional craftsmanship.

Charlotte Salt

Drawing inspiration from the subconscious, Charlotte blends an 'automatic' approach to making with an intuitive engagement with materials. Employing traditional clay methods—coiling, slab-building, modelling, and pinching-each creation captures the essence of spontaneity. From brush strokes to intentional physical imprints, every piece reflects the authenticity of the making process. Childhood experiences in her parents' pottery studio infuse the work with Charlotte's deep-seated connection to clay and a commitment to preserving the genuine nature of artistic expression.

Violaine Verry

To Violaine the resulting pieces are reminiscent of a variety of landscapes: perhaps a network of roads or fields seen from above, or an unfamiliar lunar landscape. All are totally unpredictable when they are created, each piece is unique and with its own character, and leads our imagination down a different path.

Tom Archer

Each piece is carved from Tom home studio and all wood is sustainably sourced, locally from Yorkshire. From dried bloom vessels and bud vases, to book-ends and photo holders, Tom Archer aims to create both functional and decorative pieces with an aesthetic to suite any living space.

Hania Stella-Sawicka

Hania Stella-Sawicka, originally a Sculpture student at the Royal College of Art, has elegantly channelled her fascination with form and function into the realm of ceramics. Her studio process is defined by its spontaneity, leading to the creation of small-batch functional ware and distinct, larger decorative pieces. She favours simple glazes to accentuate the texture of the clay and the character of her thrown stoneware forms. The "Scatter Plate," a glazed stoneware piece, exemplifies her approach. It features inlaid clay offcuts, arranged to emulate the randomness of scattered light. The stark contrast between the different clays is softened by an oatmeal glaze, merging artistry with functionality in a manner that reflects Stella-Sawicka's profound engagement with her materials and her background in sculpture.

Robert Hunter

This series of artworks by Robert Hunter originated from his journey to Sanna Bay, nestled within the Ardnamurchan peninsula, marking the westernmost point of mainland UK. Captivated by its pristine white beaches, serene blue waters, and tranquil ambiance, the landscape deeply inspired him. Hunter sought to capture the essence of this land by incorporating its very elements into his work. Utilising granite for its textural qualities, he juxtaposed it against smooth finishes throughout the collection, aiming to encapsulate the diverse beauty of the landscape across each piece.

Violaine Verry

To Violaine the resulting pieces are reminiscent of a variety of landscapes: perhaps a network of roads or fields seen from above, or an unfamiliar lunar landscape. All are totally unpredictable when they are created, each piece is unique and with its own character, and leads our imagination down a different path.

Ashley Sheekey

Ashley's artistic journey is fuelled by her fascination with the interplay of public and private realms, manifesting in ceramics that encapsulate the essence of Brighton & Hove. Inspired by the paint-laden ironwork railings and ornate street furniture, her techniques involve generous decoration, meticulous painting, and the use of slips to create rich textures. Each piece becomes a visual narrative, documenting specific moments or places of interest in the bustling city. The exaggeration of thrown silhouettes further enhances the unique and captivating details that define Ashley's ceramic works.

Natalie Bell

Natalie’s key themes within her work are repetition and colour. The meditative aspect of repetition comes with slipcasting, a technique usually used in a mass production setting. The impact colour has on a space, on people and their emotions is another aspect Natalie connects with within her practice. All pieces from Natalie’s Main collection are Slipcast with stained porcelain slip, poured into handmade plaster moulds, fettled, sponged and single fired to 1260°c

Judy Caplin

These pieces by Judy Caplin are crafted using the raku method, a dynamic process where red-hot ceramics are immersed in combustibles like wood shavings in a metal bin, creating metallic effects and vivid colours due to oxygen removal. Raku firing produces intense colours unmatched by other methods, requiring precise handling due to the extreme heat and critical timing for the 'reduction' phase, which influences the final look. Variables like combustible material type and cooling timing are crucial; mishaps may cause cracks, but successful outcomes yield stunning metallic surfaces and vibrant colours.

Victoria Von Stein

Victoria von Stein is a Franco-German multi-disciplinary jewellery designer maker, artist and graphic designer based in Bath, Somerset. She designs hand-illustrated botanical art and their stories and transformed into handcarved sculptural botanical fine jewellery and bespoke design commissions. Made with recycled 18k gold, gold vermeil or sterling silver with alluring gemstones.

Each collection sis Inspired by her exotic travel experiences to Kerala, Bali, Cuba and the wellbeing effect of the sensual beauty of the natural world. She feels driven to transmit ideas that communicate a joie de vivre, courage, harmony and life celebrations with luxurious, colourful, botanical, intricate and elegant designs. Her work evokes our dreams, our memories, our hearts and create connections. The stories come alive when worn. Designed for women to visually express the beauty and strength that each of us carries within.

Delicate and bold botanical shapes, intricate textures, graceful movements and translucent light filled faceted gemstones reflect tropical warm sunlight and nature's sensual spirit. Each piece reflects the warmth of the golden tropical sun and the flow of waterfalls with a tropical forest reflected in the water.  They are artistically handsculpted in jeweller's wax. The leaves are beautifully wrapped around the central faceted coloured gemstones. Enjoy the freedom to express yourself creatively wrapped in nature’s elegance.

Each piece captures the light, colours of nature’s sensual, harmonious spirit of the beautiful Island of Bali.

Philippa Taylor

Philippa Taylor is drawn to the allure of unique gemstones that are not commonly used and that offer visually distinctive characteristics. Her work is deeply inspired by a strong minimalist aesthetic. The Stellar Black and Gold collection, featuring Slate Pyrite mined in Germany and Spain, exemplifies her interest. Taylor is captivated by the stone's strong celestial quality, reminiscent of a starry night sky, a discovery she made at a gem fair. She notes the uniqueness of the gold Pyrite inclusions, which are specific to each piece, and prefers to employ modern, geometric designs that allow the stones to stand out on their own.

Her Tourmalated Quartz drop earrings have been chosen for the "Reflection on Light" exhibition, specifically for the way the black tourmaline inclusions disperse light, creating a stunning visual effect when illuminated. This selection highlights Taylor's commitment to blending the natural beauty of unusual gemstones with contemporary design.

Bea Jareno

Bea Jareno crafted a gold ring that delves into the interplay between light and darkness, drawing inspiration from the theme 'Reflection on Light'. In her London studio, she employed the ancient technique of sand casting to melt recycled materials, combining 8 grams of 9kt yellow gold with 2 grams of 14kt rose gold. This process was aimed at creating a distinctive gold colour, resulting in a blend with a 41% gold content, roughly equivalent to 10kt gold, chosen specifically to complement the emerald-cut London Blue Topaz gemstone set within the ring.

The ring symbolises the duality of nature—darkness and light. For Jareno, the presence of darkness in the piece serves to underline the brilliance of the light emanating from the gold and the gemstone. She used a combination of high polish and matte finishes to highlight the contrasting textures and hues, inviting onlookers to delve into the depth of this juxtaposition. This piece is a contemplation on balance and harmony, mirroring the beauty found in the natural world.

Emily Marston

Emily Marston's artwork is deeply influenced by the presence of water in her local landscape, with a specific focus on the light as it dances across the surface of the water. Living in close proximity to the river, Emily often finds herself walking along its banks, drawing from the surroundings for inspiration.

In her creations, she harnesses the grounding qualities of clay to delve into themes of flow, balance, and a deep-seated connection to nature. Her approach involves the intricate layering, cutting, and reconfiguring of coloured clay, drawing inspiration from the Japanese Nerikomi technique. This method allows the patterns within the clay slab to shift as it is rolled, subtly suggesting movement akin to that of water's surface.

Emily's work is distinguished by her unique combination of clay bodies, which she formulates by mixing different coloured clays. This personal technique results in a distinctive colour palette for each piece, ranging from soft grey to a subtle marble effect, further enhancing the thematic and aesthetic depth of her work.

Reesha Zubair

The HAWWA vessels, inspired by hand-building techniques involving slab and coiling methods, are crafted from flecked stoneware clay. The creation process involves meticulous marking and texturing of the vessel surfaces, leading to a choice between leaving these marks raw and undecorated or enhancing them with slip and/or oxides before the firing process. Uniquely, these vessels are left unglazed, relying on the slip or oxide decorations and the inherent texture of the clay to define their aesthetic appeal. While they are not designed to hold liquids and have unglazed interiors, the HAWWA pots are vitrified through firing at temperatures exceeding 1200 degrees Celsius, which contributes to their robustness. Given the handcrafted nature of these pieces, each HAWWA vessel is distinct, ensuring no two pots are exactly alike, embodying the artisan's commitment to individuality and craftsmanship.

Glynn Allcock

The desk lamp by Glynn Allcock was born out of a practical necessity for better lighting in his workshop. While sketching ideas, he found the overhead lighting insufficient and opted against purchasing a potentially plastic solution, choosing instead to utilize materials already present in his workshop. Inspired by the daffodils blooming in his garden, Allcock adopted the theme of a trumpet to design the double elements of the lamp's head, crafted from ash and beech wood. The addition of a purple cowl, made from Purple Heart wood, serves as a striking contrast. A reclaimed mahogany picture frame was repurposed to form the two struts of the lamp, and an old lump of beech wood, previously deemed too small for a bowl, was transformed into the base to provide the necessary weight to support the lamp's structure. Another piece of Purple Heart wood was incorporated to complement the flowing lines of the lamp's head, rounding off a design that is as aesthetically pleasing as it is functional.

Eva Radulova

Eva founds inspiration in Japanese prints. Kanagawa wave is the main incentive. Developing new shapes is what fascinates the designer the most as part of creating and designing process. She is always looking for a new approach when designing a form. Although, it is a challenge which she enjoys taking, considering ceramics is the oldest craft.