Carina Ciscato was born in Sao Paulo, Brazil, and graduated in Industrial Design. She was later apprentice to Lucia Ramenzoni, one of Sao Paulo’s leading potters. Following her six-year apprenticeship and a number of courses in the US, she started to show her work in local galleries. In 1999, Ciscato moved to London where she became an assistant in the studio of Julian Stair and Edmund de Waal. The move from Brazil to the UK has seen her work take exciting new directions. In 2003, she established her studio in Vanguard Court, south London, where she still works today.

Carolyn Genders is a UK-based ceramic artist and printmaker. The essence of her practice is the relationship of form, line, brushstroke and colour, evident in both her works in clay and on paper. Genders is a member of the International Academy of Ceramics, a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. She exhibits worldwide and her work is in private and public collections. She is the author of Sources of Inspiration (2001) and Pattern, Colour and Form (2009), both published by A&C Black.

Following a career in advertising, Carolyn Tripp graduated from Camberwell College of Arts in 1998 under the professorship of Richard Slee. After teaching ceramics in a mental health capacity and raising a family, Tripp returned to her practice full time with a new body of work in 2018. Selected as a member of the CPA, she regularly shows work in galleries throughout the UK and has taken part in key ceramic exhibitions including House of Pots in London and Summer of Ceramics in Lincolnshire.

Charles Bound was born in New York City. After graduating from Union University in 1962 with a degree in English Literature, he spent the next three years teaching at secondary level. From 1965-71 he worked for a publishing company, dividing his time between the USA and Africa. Bound did not come to study ceramics until 1983, setting up a studio while working as a college technician and teaching. In 1994, he was gifted the use of a space on a farm in Wales where he could build his own wood-fired kiln, which he has been working with since.

A graduate of Glasgow School of Art, Chris Bramble specialises in ceramics. The contrast of his African heritage and European upbringing lead to his contemporary style, combining African forms with modern techniques. In 1985, he moved to Zimbabwe where he was influenced by methods of colloquial stone sculpture, and translated these techniques to his own ceramic work. Returning to London and gaining his masters in sculpture and multimedia at Westminster University, Bramble set up his own studio in 1988. His ceramics are inspired by the people around him; their spirit is captured in his meditative process as he documents hidden aspects of today’s black culture.

Chris Keenan has worked from his own South London studio for 25 years. He exhibits around the world and his work is held in several permanent collections including the V&A, London, and the Ashmolean Museum in Oxford. His Limoges porcelain pots are thrown and turned before reduction-firing in a gas kiln. The glazes remain, predominantly celadon and tenmoku, but these are now complemented by green and red glazes. It is a restricted palette but offers a huge breadth of possible finishes.

Chun Liao was born in Taiwan and came to the UK to study in the 1990s. She holds an MA in Ceramics and Glass from the Royal College of Art, where she also undertook an M. Phil research project in 1999. Her vessels are generically similar in shape, but never identical. Instead, she develops a seemingly limitless range of possibilities through subtle nuances of form, colour and detail. Liao emphasises the importance of intuition in her work, explaining that, ‘sometimes they originate from a thought, a piece of music, a vision or a simple line of words. However, most of the time they are not rational, designed or planned. I just simply need and have to make them.’

Claire Curneen was born in Tralee, Co. Kerry, Ireland and currently lives and works in Wales. Her intricate, porcelain figures are poignant contemplations on the precarious nature of the human condition, exploring themes around death, rebirth and the sublime. Porcelain, terracotta and black stoneware create a grounded vulnerability to these works, with dribbles of glaze and flashes of gold to embellish denoted sacred qualities. Curneen’s work appears in many public collections across the UK and overseas, including the V&A, London, National Museum of Scotland, Edinburgh, Ulster Museum, Belfast, Clay Studio, Philadelphia, USA, and Icheon World Ceramic Centre, Gyeonggi-do, Korea.

Clare Conrad has been obsessed with stoneware ceramics since seeing a photograph of Hans Coper’s hourglass form on her foundation course in 1965. Twenty years later, with two young children, she was able to do the ceramics degree course at Bristol, and hasn’t stopped making since. Chelsea Crafts Fair in 1987 launched her into the gallery world and in 2014 she was made a fellow of the Craft Potters Association. Her pots have been continually shown at Contemporary Ceramics Centre gallery since 1996.

Cleo Mussi is a ceramic artist. Her works are held in private collections worldwide and in many public spaces throughout the UK and include commissions for John Lewis in Solihull and the BBC Asian network in Leicester. Mussi was represented at the British Ceramics Biennial in 2021 and her recent book, Mussi Mosaic Manufactory, is a 200-page retrospective of her last 34 years. She trained at Goldsmiths College, though is self-taught in mosaic. She deconstructs and reconstructs historic ceramic tableware into contemporary stories that reflect the world around us, taking us on a journey of discovery from her life-size gestural figures to small intimate works.

Clive Bowen was born in Cardiff and studied painting and etching before taking up a pottery apprenticeship. He has been making wood-fired earthenware at Shebbear Pottery since 1971. Bowen is one of Britain’s finest studio potters, internationally known and respected for his powerful yet intimate pieces, with his works widely exhibited in the UK and throughout Europe, North America and Japan. He produces slip-decorated earthenware pots from his Devon studio, using the local Fremington clay, a red earthenware clay used for centuries for traditional North Devon wares. His new extruded vessels for flower displays are influenced by Japanese vases.

Dan Kelly was born in London, where he continues to live and work. He studied at Camberwell School of Arts & Crafts in the mid-1970s and went on to the Royal College of Art. He has concentrated on working on the wheel, refining the range of forms he works with and concentrating on a restricted palette of mostly black, white and neutral tones. He has exhibited widely in the UK and internationally and his work is also represented in several museums and publications.

For the past 10 years, Doug Fitch has shared a workshop with his wife, Hannah McAndrew, in Dumfries and Galloway, Scotland. They produce slipware with traditional techniques and materials, capturing the essence of ancient pottery, but interpreted in a contemporary style. His interest in historical, British pottery came from his schoolboy experience of collecting sherds from the sites of former medieval potteries, and this fascination has defined his work ever since he made his first pots, 40 years ago.

Dylan Bowen makes slip-decorated earthenware. His work is rooted in the slipware tradition but with many contemporary and diverse influences. He trained as an apprentice at Shebbear Pottery with Clive Bowen, and he went on to study at Camberwell School of Art, London, graduating in 19991. He shares a studio in Oxfordshire with Jane Bowen. He works from a small but ever mutating series of shapes aiming to capture some of the spontaneity and dynamism of the making process. He is a Fellow of the Craft Potters Association and exhibits widely in the UK and abroad.