Visit to Ceramic Wales 2026

I recently visited Ceramic Wales, one of the highlights of the ceramic calendar and an event that is eagerly anticipated by collectors, makers and enthusiasts alike. Set within the beautiful grounds of Bodrhyddan Hall, the event combines exceptional ceramics with a stunning setting, making it a truly enjoyable day out.

This year's visit felt particularly exciting as the second-year students had work on display. Seeing their pieces exhibited alongside established makers was inspiring, and their work looked absolutely fabulous. It was encouraging to see the breadth of approaches and the high standard of work being produced.

One of the aspects I most enjoy about Ceramic Wales is the opportunity to revisit the work of ceramic artists I already admire while also discovering makers whose work is new to me. There is always something unexpected to find, and this year was no exception.

I was particularly drawn to the work of Ao Ceramics. I found the colour palette especially inspiring, with subtle yet effective combinations that felt both contemporary and grounded. I was also intrigued by the flatter vessel forms and the torn or fractured effect around the rims. These pieces felt considered and distinctive, and they prompted me to think about how altering the silhouette of a vessel can dramatically change its character.

The work of Katherine Taylor was another highlight. Her use of printing and mark-making techniques naturally caught my attention, as these are processes that I particularly enjoy employing in my own work. It was fascinating to see the layering of marks and the way colour was used to enhance rather than overwhelm the surface. I was also interested in some of her more unusual vessel forms, which challenged traditional expectations while remaining highly resolved as ceramic objects.

I was equally impressed by the work of Huw Phillips. His use of raku firing created fantastic surface imprints and textures across his vessels. In particular, I was drawn to the marks that resembled fabric netting, which introduced a tactile quality and sense of history to the surfaces. The combination of process and pattern created work that felt both dynamic and deeply connected to material experimentation.

Another stand that stood out was that of Nicola Gillis. Her black-and-white ceramics demonstrated how powerful restraint can be. The pieces were simple in palette but incredibly effective, with strong graphic qualities and confident mark-making. The display itself felt carefully curated and well choreographed, allowing the individual works to complement one another and create a cohesive visual impact.

Overall, Ceramic Wales was a fantastic and highly inspiring day. Events such as this provide a valuable opportunity to engage with contemporary ceramic practice, observe different approaches to form and surface, and reflect on how these ideas might inform my own work. I left with a notebook full of observations, plenty of inspiration, and renewed enthusiasm for future projects.

Perhaps most importantly, the event reinforced my desire to continue developing my own practice. Seeing such a diverse range of high-quality work on display was both motivating and encouraging, and I am already looking forward to next year's event—with the hope that one day I might be exhibiting there myself.