2F Chair

Wed 03 2008


The chair is a combination of the designer’s visual views and his life-long study on construction. The designer is known for his other light-weight foldable chairs – so the 2F chair is a continuation of his design thinking. It also has an ecological aspect which has been important to the designer.Hannu Kahonen

Pear vase group

Wed 03 2008


A range of hand-thrown bowls, vases and tableware is produced in two stoneware clays, with combinations of celadon and iron-saturated glazes. Beauty through use’ and the demand for fine craftsmanship are the motivations for potting. Suleyman Saba

Mug Shots

Wed 03 2008


This tableware can adapt and ‘multifunction’ to suit contemporary living. The cup has been integrated with the saucer and therefore can stack on top of another. The small cream jug can function as a lid to the sugar pot to become a tidy set.Louisa Taylor


Wed 03 2008


An exploration of the relationship between shape, volume and negative space, drawing on nature but not emulating it.Tina Vlassopulos

Tied Boxes

Wed 03 2008


“My making techniques and influences are varied. The art and design of the Far East is the strongest inspiration at present.
Contrasting elements are an important part of my work. This may materialise in loose decoration or soft glazes over tight forms, or in the use of non-ceramic materials.”Jonathan Wade


Wed 03 2008


Sasha’s work is both decorative and functional, slip casting Bone China to an egg-shell thinness to enhance its translucency.Sasha Wardell is a leading exponent in taking what was primarily considered an industrial method and adapting its techniques to make beautiful and highly individualised pieces.

Porcelain Teapots

Wed 03 2008


“I find the natural textures and tactile qualities of the naked clay most seductive therefore I keep my glazing simple in colour and often dry. The magic in making happens for me when a pot is freshly thrown. It fascinates me to alter and transform a thrown form, capturing the energy and movement within. Natural formations interest me but predominantly it is my own personal experimentation with the plastic quailities of the clay and the wheel process which lead me to question, contemplate, resolve and create.”Karen Morgan


Wed 03 2008


The attention is focused on functional wares: the throwing wheel is the major tool  used to produce them. The porcelain is soft, warm, responsive to the  touch, and playful to the  imagination. Following my intuition and his own personal sense of beauty,Sun Kim tried to find balance and stability in his pots.


This pots are made to be used and enjoyed in domestic life. The bowl remains the form where subtleties of line are most elusive and consequently most rewarding when successful. The work is thrown Limoges porcelain, glazed using combinations of tenmoku and celadon and reduction-fired in a gas kiln.Chris Keenan

Teapot, mugs, creamer

Wed 03 2008


Graham’s work currently consists of small batch production and individual functional tableware pieces informed by a strong interest in both ancient and contemporary ceramics and manmade patterns, textures and colours across local landscapes.  Pieces are kept simple, unfussy and contemporary, the intention is for them to be both visually appealing and a pleasure to handle and use. Current pieces are slip-cast and altered or thrown, in a Semi-Porcelain body. Graham Hudson