CERAMICS

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DYLAN BOWEN. Trained at Shebbear Pottery, then Camberwell School of Art, graduating in 1991. He,   in partnership with potter Jane Bowen, set up their present workshop in Tackley in 2002. Dylan makes individual pieces in slip decorated earthen ware, the work is wheel thrown and altered or hand built. Slips are poured, trailed or brushed on, at the moment mainly black and white with some small areas of colour. The pieces are fired to around 1070 with a clear or honey glaze. Dylan is currently working on large platters, bottle shapes and taller forms, aiming to combine making and decorating methods to capture some of the spontaneity and energy of the creative process.

MARSHALL COLMAN

“Colour and surface design are central to my work.

I am interested in variation and contrast, the rhythm of decorated and undecorated areas, and the relationship between pattern and form.

My influences include abstract expressionism, fifties textiles and maiolica.”

FERRI FARAHMANDI 1969 Teacher Training Course Shiraz, Iran.  1995/7 City & Guilds Creative Studies, Harrow College. 2006 Ceramics BA Hons, University of Westminster. My work has always referred to nature and I have frequently explored the human form. Here I am examining how society restricts our lives demonstrating the boundaries to our freedom. I hand build using stoneware and porcelain clay. Most of my work is fired to 1260C in an electric kiln. Associate member Craft Potters Association, Society of Designer Craftsmen, London Potters.

2011; Montague Gallery, Hannah Peschar sculpture Garden, "Designer Crafts 2011" The Mall Galleries. 2010 Orangery Gallery London Potters, Cecilia Colman  2009; Ice House gallery, "Designer Crafts 2009"   The Mall Galleries. 2008; Rivington Gallery, London. 2007; British Craft Exhibition, Chiswick, "Designer Crafts 2007" Mall Galleries, London. 2006 New Designers, Business Design Centre, London

AKIKO HIRAI
BA (Hons) Ceramic Design Central St. Martins 2003.

Ceramic Tutor at Kensington and Chelsea Collage to date

Akiko’s works at one of artist studios in The Chocolate Factory N16 in London. She 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 the objects and the viewers. Her work and unique approach to ceramic work have had much high praise and her work is becoming more in demand from her commissions in the UK and worldwide.   
akikohiraiceramics.com
 

CHRIS INDER  Preserving the Past - Feeding the Future.
Through my love of food, growing, preparing cooking and sharing, it was perhaps inevitable that my involvement with ceramics would come to focus on dining and tableware. A recently completed BA (hons) in ceramics and glass provided the opportunity to gain an insight into and working knowledge of some of the many processes and techniques associated with, and used in, the production of ceramics.
Exhibitions: Mall Galleries, January 2012
London Design Festival, September 2011                                        Art in Clay, Hatfield August 2011
London Design Festival, September 2010
New Designers, Design Centre, Islington July 2010
Rotary Art Exhibition October 2010 & 2011
Annually with: Bucks Potters & Sculptors, Bucks Open Studios, Obsidian Gallery, Stoke Mandeville.
 

Other: Selected by Andrew Tanner for Designed in England website, feature in Living etc July issue, feature in Homes & Gardens November Issue.

PAMELA LAWTON 2003/05  BA (Hons- 1st Class) Design Crafts. De Montfort University (Banbury). 2001/03  BA (Hons) Fine Art, De Montfort University (Banbury). HNC Design Crafts, North Oxfordshire College of Art and Design.

Selected Exhibitions: 2011 Banbury Museum, Oxon, Delamore Arts, Devon. 2010 Outside Art, Russells Quarry Garden, Coventry.  Art Space, Barn Galleries, Oxon. 2008  Exhibition Agnes b, Marylebone Store, London & Oxford. 2006 Works on Paper, Royal College of Art, London. 2005 New Designers, London. 2000  'Stored and Sorted', Pitt Rivers Museum, Oxford.
Featured in: 2006 Kitchens, Bedrooms and Bathrooms, Issue 149, February. 2006 Living Etc., April Edition. 2005 Ceramic Review, Issue 216, Nov/Dec, New Graduates. Create X Conference at British Library: Images of my work used in paper given by Alison Honour & Caroline Broadbent. Commissions: Piece of work for The Hotel Scarlet, Eco Hotel in Cornwall. Professional Experience: 2005/09- Sculpture Technician, Oxford and Cherwell Valley College, Oxforshire. 2009/11 - Ceramic Technician, Oxford and Cherwell Valley College, Oxfordshire.

My work is produced using a broad range of ceramic techniques and is a response to political, social or environmental concerns. In particular my work references how we use, waste and pollute water, the use of pesticides, loss of the worlds natural habitats and global warming. The Collection based pieces  are inspired by my love of museums, with special interest in the way artefacts are displayed. The aim of my work is to be thought provoking whilst also aesthetically pleasing and beautiful in conveying the works subtle message. I developed a range of fine porcelain/silver jewellery which alludes to the fact that the creatures and insects illustrated are under threat from global warming due to loss of habitat. My recent work, which includes found objects, references the loss of the manufacturing industry and the traditional skills in the UK. The piece of work 'In the Balance' alludes to the decline of the butterfly population in Britain. I use slipcast porcelain, paperclay, screen prints and decals.
 

LEA PHILLIPS. I produce a range of high-fired tableware, as well as some larger, one off items. The pots are all thrown on the wheel and individually decorated with free and abstract designs using multiple layers of colourful stoneware glazes.
My work is the result of a long fascination with both throwing and surface design. I like simple, well-defined forms, which grow naturally out of the making process. I am also a compulsive decorator and my surface designs reflect a long-standing interest in pattern and colour. I want the surfaces to describe and enhance the forms and reflect something of the flowing nature of the making process.
Research into glazes and their interactions is an ongoing process, along side the continuous development of new designs and exploration of variations within a design.
The high firing temperature produces glazes that are rich and vibrant as well as pots that are robust enough for everyday use.

HILARY SIMMS studied ceramics at Barnsley Art College in 1990. Shortly afterwards I gave up hand built ceramics to raise a family and to work in our family run industrial ceramics business which traded throughout Europe. When the business moved production abroad, I took the opportunity to start making again and in 2005 I set up my first studio to develop and pursue my professional practice as a full-time ceramicist.
 

In 2009 an opportunity arose to take an 18 month residency at The Sculpture Lounge, Holmfirth where working with Brendan Hesmondhalgh I developed my work, creating my Nautilus Collection of hand built Naked Raku fired ceramic sculpture. The inspiration for these works came through studying shells collected from a deserted beach in The Gambia.
 

All my ceramics are made by coiling and pinching, slowly coaxing the clay into the desired form. I finish the pieces by Naked Raku firing which gives a natural organic appearance.
Last year I took part in my first large ceramics show, Art in Clay at Hatfield House, Hertfordshire.

CHARLOTTE STORRS  is a Dutch potter working near Oxford. She studied ceramics  in Chichester before her children were born and later in Oxford. 

Charlotte makes functional stoneware, pots and dishes which can be used on a daily basis. All work is wheel thrown. Pots are fired to 1250 degrees in an electric kiln. Decoration is limited to combing or using patterned, ceramic rollers on the clay. She prefers to use white or muted glazes.  Since visiting a number of potters in Japan she likes to incorporate akebia vine, imported from Japan, in her work. She mainly works to commission and has sent her work to most European countries and the States.

Featured in: Elle Decoration's design Hot List 2011 of the New, the Classic and the Collectable.

www.charlottestorrs-stoneware.co.uk

OSTINELLI & PRIEST

The perfect example of 2 heads working as one. Drawing on their individual strengths, combining their talent and experience, these two artists have established a very popular and collectable catalogue of work.    

They are exhibiting in major ceramic exhibitions across the country, Art in Action Hatfield and Farnham, Earth and Fire Nottingham to name just a few.   Their work is now showing in well established and popular galleries including Store Street in Bloomsbury London, The Imagine Gallery in Suffolk, and  The Roger Billcliffe Gallery in Glasgow.  

Their workshops and demonstrations are proving immensely popular, informative but fun, fast moving and educational, embracing a broad spectrum of techniques. Both members of the CPA, Paul being a professional. ostenellipriest.co.uk

CHRISTIAN TIBURTIUS

I see no disgrace in beauty or craft and think that an artist should make their own stuff. The inspiration for my large scale stoneware ceramic sculptures comes from somewhere between the subconscious, music and alcohol. The pieces are starting points for each other so form families of organic looking forms which display well indoors or out.

I have been sculpting now for approximately 20 years having originally trained in ceramic sculpture at St Albans Art College and work from a studio in my garden. Amongst the numerous exhibitions I have had are The Royal Society of British artists, Artspace and solo shows at The Ice House gallery Holland Park. Sculptors I rate and am intimidated/inspired by include Barry Flanagan, Barbara Hepworth, Richard Long and Charles Westgarth.

JANE WHITE

After graduating from Bucks New University with a BA (Hon) in Ceramics and Glass in 2008, I was selected at New Designers to exhibit at The Graduate Show at The Gallery at Bevere in Worcester.  In 2009 after successfully applying for LEADER funding  I then spent 6 months restoring a redundant old Dairy and setting it up as a working studio in the Chilterns, just outside Henley.  I was then invited to The Christmas Show at Bevere, and selected for the Associate stand at The Oxford Ceramics Fair in 2010.  I have also exhibited with the Society of Designer Craftsmen at The Mall Galleries in London in 2011 and 2012, as well as participating in many smaller local exhibitions and shows. All my work is hand built, and I work solely with the unusual technique of pit-firing, in which pots are buried in sawdust in a large trench surrounded by seaweed and organic material.  A large fire is then built over them, which burns for about 6 hours, before the pit is sealed. 2 days later I return to discover the results buried in the ashes.  This is an exciting but highly risky technique, but when the pieces survive the results are stunning, and completely unique.

JOANNAH WHITELEY trained at Bristol with tutors Walter Keeler and Mo Jupp receiving her BA Hons in Ceramics in 1994. She moved to London after graduating and has continued to make and sell her own work ever since. Jo works as part of the collective potters group 'North Street Potters' and teaches at Clapham Pottery in South London.

“My new work is a progression from the 'leaping horses' of my degree show era. They are more reflective and now represent not only the strong and beautiful qualities of the horse itself but also a more emotive element not previously seen. Working with porcelain and sometimes other coloured clays I roll and layer textured slabs to create the forms. Some pieces are mounted on a thrown base and some on cast concrete or stone.

In this new collection I wanted things to be less perfect and finished, aiming to bring a darker, rougher, more raw quality to my forms. This can be seen as a personal response to a current situation of my own and as a reflection on the world around us today. However I also try to retain that sense of strength, beauty and hope within the pieces that holds on to the original inspiring qualities of a less complicated time.”