 Very well known for his story telling and drawings.
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Mark’s Black and White studio ceramics were a hit when he last appeared here. He brings a new and often rather quirky aspect to domestic ware and he has a deft decorator’s hand and an endlessly creative imagination.
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 Louise has steadily gained a reputation for finely thrown white stoneware and porcelain, and made the techniques of incising and carving very much her own.
Stylised images of animals and plants are cut freehand into the leather-hard clay and, after biscuit firing, are inlaid with eggshell smooth glazes maturing at 1280°C...
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 Jo works in Porcelain and produces hand thrown functional ware.
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 Patia studied pottery on the Harrow Studio Pottery course between the years 1986 -1988 and furthered her studies at Cardiff until 1990, before being invited by Mick and Sheila Casson to be part of the team at Wobage Farm Craft Workshops in the spring of 1991.
Her work in earthenware is a direct response to the clays warmth and rich colour...
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 "Through my work I want to highlight the preciousness of life and the rituals of food and drink with objects that are both special and tactile. I am attracted to porcelain as a material because of its whiteness and translucency, and because of the fluidity that throwing can give to it...
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 Kevin was born in 1954. He trained at Harrow School of art under Colin Pearson and Walter Keeler. Kevin spent much time in the United States between 1978 and 1991 working in various pottery related positions and filling in time between ceramic jobs as a truck driver...
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 Maria makes unique tableware and one off vessels. She combines subtle glazes with a special blend of textured clay resulting in minimal but soulful pieces often centred round the sharing of food. Clean lines, simple forms, lightweight and with Asian influences - Maria’s work is both beautiful and functional...
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Monika makes two-tone slab-built stoneware vessels which are low salt-fired in a *reduction atmosphere.
"My particular kind of stoneware differs from that of my peers as it concentrates firstly on painting, and secondly on the vessel and its form, and therefore I complement the simplicity of my painting with a basic slab building technique...
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 British Studio potter
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 Richard makes salt-glazed stoneware and porcelain. His production is made up of a small amount of domestic ware although he tends to concentrate on one-off pieces based around the functional form.
All his work is ‘once-fired’ to 1320°C in a one cubic metre wood-fired kiln. The firing lasts thirty hours and includes four hours reduction and two hours salting...
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 Hayley’s work is a selection of ceramic jewellery pieces handmade using stains slips and inlay decorating techniques, inspired by 1950’s British and Scandinavian design.
The latest collection comprises of earrings, brooches cufflinks and necklaces
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I make porcelain which explores and extends the qualities associated with this beautiful material. I make functional pots which range in scale from fine delicate cups for tea or cider to large unexpectedly rugged slab dishes and plates.
The forms are either thrown or slab-built with surfaces which are pierced, stretched, carved and ribbed...
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 Fleen says I am currently pursuing my interest in wood fired salt-glaze with guidance and mentoring from Micki Schloessingk, with whom I am doing an apprenticeship. I am in the fortunate position of receiving funding and support from the ‘Adopt a Potter’ trust...
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 Bridget Drakeford has been designing and making pottery since 1977.
During the early years in Scotland she made domestic stoneware, but now works exclusively in porcelain using both reduction and oxidised firings.
She has been a prizewinner at the Mashiko Ceramics Competition in Japan, and at the World Ceramic Exposition in Korea...
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 Rachel sculpts wire into human forms to create intriguing and stunning pieces. Well practiced in life drawing combined with being trained as a jeweller led Rachel to experiment with this medium and the results are truly captivating. Each sculpture is featureless and so it is the posture which says everything about the pieces, the hands being the main tools of expression.
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 Born in 1960
A diverse range of influences have informed the work of Françoise Dufayard. During the late 1970s Françoise studied ceramics at the Ateliers de Fontblanche in Vitrolles, then she travelled in Asia (1981-1982).
From 1983-1987 she worked for Gustave TIFFOCHE and Suzy ATKINS...
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"I have been influenced by Ikebana, the Arts of Japanese Flower Arranging, which I have studied for several years. Together with this and the influence of other Japanese Art, I have explored the use of asymmetrical forms using the natural colour of stoneware and porcelain clay, enhanced by stained inlay decoration...
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