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Terry Shone lives and works in Whitby, North Yorkshire. After training in ceramics and sculpture at Leeds Arts University and Goldsmiths’ College, London, he was awarded a Rockefeller research fellowship at the Metropolitan Museum of Art in New York.
A lifelong interest in the traditional slip-wares produced by country potters has informed his work, as have the myriad examples of lively and idiosyncratic images found in nineteenth-century Staffordshire ceramic models and flatbacks.
Terry’s current work is often, but not exclusively, hard-fired earthenware. Thrown, slab-built and modelled forms are decorated with coloured slips and glazes and may be reworked over several firings using enamels and lustres. These techniques, used in new ways, have enabled the production of work which retains the freshness and immediacy of traditional pottery whilst maintaining a strong contemporary feel.
Jill Fanshawe Kato studied painting at Chelsea School of Art and pottery at the school of Yosei Itaka and at the Musoan Karatsu Pottery School in Japan. She established her studio in North London in 1977 and has exhibited internationally, especially in Japan and the UK. She regards her work as sitting somewhere ‘between sculpture and painting’. Her work has been described as possessing an ‘atatakai’ quality which is a Japanese term for ’emotional warmth implying that something is breathing.’
‘Working in clay is a kind of alchemy. I like the unpredictable results of fuel burning kilns such as gas and the warmth this gives to the clay. I mostly hand build, coil and slab, but also throw, alter and assemble pieces, which are usually one-off. Imagery is added with coloured slips and fired to 1270c. Recently I established my new studio in Devon and have forests and wilderness on my doorstep, which has given me a new freedom. Ancient stone circles, the South West Coast Path, the red and white clays of Devon are all touch points for my work, as is growing plants and seeing birds and other wildlife from day to day. It is a real journey of discovery as one inspiration leads to another.’ – Jill Fanshawe Kato, 2020
Public collections include:
Aberystwyth Arts Centre, Wales; World Ceramic Exposition Foundation, Korea; Daiwa Anglo-Japanese Foundation, London; Yokohama National University, Japan.
Jill was the subject of her fifth solo exhibition, Changing Seasons, at The Scottish Gallery in December 2020.
Katrin Moye is a Nottinghamshire-based ceramicist whose work draws on historic ceramic forms and incorporates contemporary political and cultural commentaries in an often-humorous way. She illustrates parallels between contemporary life and their equivalents in social history with her hand painted, wheel thrown and handbuilt ceramics. Her intricately decorated versions of recognizable shapes from European ceramic antiquity explore themes such as the menopause, classic literature, cod Latin, slang words and dirty jokes. These sometimes rather cheeky contemporary vessels are made within the context of European decorated earthenware, focusing in particular on the styles of Italian Renaissance Maiolica and Dutch and English Delftware. She has work in public and private collections worldwide.
Katrin Moye spent her childhood in East Sussex with her brother, her German mother and British father, mostly drawing or reading. She studied English and Art History at Nottingham University, and spent 15 years working as a bookseller. Her obsession with clay began during an art foundation course at Hastings, Sussex in 1987. A further course in ceramics at Morley College, London a few years later made her decide to leave work and start her ceramics practice, which celebrated its 20th anniversary in 2024. She initially made small batches of hand painted, wheel-thrown tableware and refined her techniques and skills by trial and error, gradually moving away from the purely domestic/functional towards more elaborate, ornate pieces such as tulipieres, embellished vases and recreations of historical European ceramic vessels.
The research element of Moye’s practice is very evident in her output and many of her pieces are directly linked to examples of historic European ceramics found in collections at museums such as the Courtauld Institute and V&A in London, the Bowes Museum in County Durham, Waddesdon Manor in Oxfordshire and the Maiolica Museum in Deruta, Italy. In 2017-18 she was Artist in Residence at Nottingham University’s Lakeside Arts Centre, which led to her completing the change in direction towards the larger scale, concept-led work she is known for today. Her ‘Menopause in Maiolica’ collection was selected by the Crafts Council for inclusion in 2024’s ‘Collect Open’ at Somerset House, and pieces in this series were acquired by the Victoria and Albert Museum.
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