Porcelain
Potters working primarily with porcelain clay.
Bridget Drakeford Porcelain
(3 votes)
Bridget Drakeford has been designing and making pottery since 1977.
Her elegant and functional shapes are enhanced by the subtle use of glazes, the addition of silver clasps and attachments (made by a jeweller friend) and the use of decorative wooden handles on some of her pieces.
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Ivar Mackay Porcelain (Shire Pottery)
(9 votes)
NEW WEB SITE LAUNCHED. My primary interest is in the thrown form and I work with Limoges porcelain and blended bodies. I seek painterly effects in my glazes and prefer the natural characteristics of reduction firing to augment the decorative process. I have developed variants of classic glaze types - celadon, chun, copper red, cobalt, tenmoku, large crackle & russet iron. Forthcoming exhibition: CPA at 50, The Gallery at Bevere. Represented by: The Scottish Gallery, Edinburgh; Godfrey & Watt, Harrogate; Castlegatehouse Gallery, Cockermouth. Visit home studio by appointment.
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Jack Doherty
(3 votes)
the website of Jack Doherty. Contains a news page, an extensive gallery and information about summer workshops and courses.
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Kate Phillips at Bodgers Farm Pottery
(1 vote)
My site shows recent work both in porcelain and stoneware. I have modified Soetsu Yanagi’s definitions of Mingei (a word he invented to describe and give a name to the totally hand-crafted object) and taken a 21st century approach reflecting the rapid rate of social change that crafts people have experienced. For instance while my work is hand made I use an electrically driven wheel.
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Linda Bloomfield
(2 votes)
Thrown porcelain tableware in simple shapes with tactile satin matt and fluid alkaline glazes
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Peter Lane
(2 votes)
In Peter Lane's current work, he attempts to capture the luminosity and qualities of light and colour through a series of porcelain bowls and vessel forms.
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Tim Gee Ceramics
(1 vote)
My work is an exploration of translucency within the context of thrown vessels. I use a shellac resist technique, applying the shellac with various Chinese and hand made brushes and then sponging away the surface to vary the wall thickness. This adds texture to the surface of the vessel and at the same time allows interior light and colour to permeate and activate the walls casting shadows and softening the boundary between the interior and exterior.
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Last link added: 12/06/07
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