Yorkshire ceramist Rebecca Appleby is having a career-shaping moment. The maker, who creates large-scale sculptures merging industrial and organic influences, is recently back in the studio after new motherhood and a time of illness. Here, she discusses her latest series of work, Inner Order, currently on show at the Contemporary Ceramics Centre in London.
'Once up to speed, it is possible to produce around 200 tiles a day using this method.' In this masterclass, potter and Froyle Tiles' owner Rich Miller discusses making hand-carved and pressed tiles with relief designs.
A major exhibition, The Journey of Things, brings together ceramic artist Magdalene Odundo’s pots with a diverse selection of objects made over the last 5000 years. Ahead of its opening, we spoke to Odundo and the Hepworth Wakefield’s curator Andrew Bonacina to learn more
'Essentially I see my pots as containers of distilled thoughts, moments arrested in time expressing the narratives of their own making.' In our latest video, potter Duncan Ayscough discusses the processes he uses to throw and combine the elements of a long-necked pot.
'I continue to make functional pots, but I draw on my enjoyment of playing in a sculptural way with components.' Renowned potter Walter Keeler discusses the processes he uses to extrude, hand build, throw and assemble the various elements of one of his jugs.
British potter Edward Hughes has long influenced James Hake’s approach to ceramics. Here he discusses the impact Hughes’ skilful throwing and use of traditional Japanese glazes has had on his own making techniques.
'Surfaces are scarred with marks or mono-printed with slip, then the application of warm matte or glossy glazes complement and contrast with unglazed areas.' Annette Welch discusses making large thrown dishes, decorated with abstract designs.
After catching CR’s eye at Ceramic Art London and winning our Highly Commended Newcomer Award, we learn more about emerging maker Rhian Malin’s blue and white porcelain, inspired by traditional Willow Pattern china.
'I aim to exploit bone china's inherent qualities of whiteness and translucency within my own practice.' Sasha Wardell discusses the mould-making process behind her slip-cast bone china bowls.