Ceramic Artists

Jim Malone is a ceramic artist based in Scotland who has been throwing pots on his kick wheel for over forty years. His remarkable use of local materials speaks to my appreciation for authenticity and connection to the land. I admire the intent and simplicity of form in his pieces, as well as the delicate decoration that brings each creation to life. The balance he achieves, combined with the unpredictability from the wood and oil firing, adds an intriguing dimension to his work, making it not just functional but also a profound expression of artistry that resonates with me deeply.

Zeba is a contemporary ceramic artist whose captivating work first caught my eye at the Manchester Ceramics Fair 2026. I love how her pieces feature multi-layered and textured surfaces, showcasing her unique interpretation of the concept of "Palimpsest." Each wheel-thrown creation is meticulously crafted with slips, oxides, sgraffito, and monoprinting techniques, resulting in beautiful works of art that invite exploration and appreciation.

Lucie Rie was an innovative Austrian-born British studio potter known for her vibrant colors and refined shapes. I think that her work beautifully balances a sense of organic quality with subtle irregularities, showcasing her mastery of earthenware, stoneware, and porcelain. Rie was a thrower, she experimented with glazes and employed sgraffito through intricately applying thin lines and crosshatching, 

Richard crafts hand-thrown vessels that combine instinctive movement with careful control, finished in wood-fired shino glazes. Rooted in his environment, he incorporates locally sourced clay for surface decoration, fires with wood gathered from his own land, and frequently creates his own tools. I greatly respect how his work is guided by a deep connection to landscape and locality. 

David Binns creates sculptural ceramic vessels that combine carved, architectural forms with richly textured surfaces and fluid glazes. Working primarily in porcelain and stoneware, he explores the balance between precision and unpredictability, often drawing inspiration from landscape, Japanese aesthetics, and the quiet presence of ancient or weathered objects. His work is known for its tactile surfaces, restrained palettes, and contemplative atmosphere.I’m especially drawn to the sense of quiet contemplation in his work, and the way his forms and surfaces evoke stillness and reflection.

Jean-Nicholas Gérard creates expressive ceramic vessels and sculptural forms that celebrate process, texture, and the raw physicality of clay. His work often combines gestural mark-making with layered surfaces and earthy firing effects, giving each piece a sense of movement and spontaneity. Drawing from both traditional pottery and contemporary sculpture, his ceramics feel deeply tactile and rooted in material exploration. I especially admire the spontaneity and energy in the way he builds forms and approaches surface decoration, which gives the work such vitality and immediacy.

Ania Perkowska works primarily in stoneware and explores themes of ritual, symbolism, and human connection. Her vessels and objects combine refined craftsmanship with a strong sense of narrative and atmosphere. I really identify with her themes of ritual and gathering, and I’m especially intrigued by her use of the goblet form, which gives the work a sense of intimacy, offering, and shared experience.

Dan Kelly creates hand-thrown ceramic forms that he deliberately distorts after throwing, introducing bends, twists, and shifts that challenge the symmetry of the wheel. This controlled disruption gives his vessels a sense of movement. His surfaces are a combination of slips and oxide washes that enhance the contours of the altered forms rather than overpower them. I’m especially interested in how this restrained surface approach complements the physical distortion of the vessels, allowing the structure and gesture of each piece to remain at the forefront.

Kyra Cane works primarily in Limoges porcelain, which she throws on the wheel.

She uses bold painted marks, often in black, . that shift between clarity and softness, sometimes fading into inky, atmospheric bands. I first encountered her work at the British Ceramics Biennial and was struck by how the subtle distortion and drawn surface of her porcelain vessels suggest shifting environments and changing conditions. I later saw her again at Ceramic Art London, where her work continues to evoke a strong sense of fragility and transformation, reflecting a deep sensitivity to landscape and the vulnerability of natural systems.