A L I S O N W E S T
C U R R E N T W O R K
K I R S T Y A D A M S
Kirsty Adam’s work is both functional and holds aesthetic meaning, retaining the spontaneity and delicacy intrinsic to making on the potters’ wheel. A Japanese comb tool is used to create and enhance the throwing lines. Her Icelandic collection is the culmination of a research trip to Iceland to express the ‘otherworldliness’ of the landscape.
Kirsty is an award-winning ceramicist currently working from her studio in Newcastle upon Tyne. She originally trained at Brighton Art College and then on the potters’ wheel in Japan. She has developed a personal approach to throwing on the wheel using porcelain clay, to produce unique pieces for the home.
Exhibitions and Events
Being Human
6th March - 19th April 2020
C U R R E N T W O R K
In 2012, Britta returned to the Leach pottery to became a permanent member of the production team. She continues to produce a wide range of well crafted, wheel-thrown kitchen and table ware. Britta decorates the pots while the clay is still soft to add depth to the surface. For the decoration, she uses a number of techniques, such as stamping with various roulettes, impressing with pieces of wood, cutting, adding clay or otherwise deforming the pot.
B R I T T A J A M E S
Trained in Germany, Britta followed an old German craft tradition of travelling to various potteries for three years and a day to work and learn. She used this time to deepen her skills and learn about different cultural aspects of ceramics. Britta worked for potters in Germany, France, New Zealand and England, where she first worked for the Leach Pottery in 2010/2011. Britta was particularly influenced by her time with New Zealand potter, Petra Mayboden, learning about wood firing and various decoration techniques.
In 2012, Britta returned to the Leach pottery to become a permanent member of the production team. She continues to produce a wide range of well crafted, wheel-thrown kitchen and table ware. Britta decorates the pots while the clay is still soft to add depth to the surface. For the decoration, she uses a number of techniques, such as stamping with various roulettes, impressing with pieces of wood, cutting, adding clay or otherwise deforming the pot.
The pieces are glazed in celadon, shino, blue and copper red, then fired to 1300°C in reduction. These glazes vary in colour from thick to thin, further enhancing the surface decoration of the pots. Influenced by her journey, Britta’s pots are luscious and playful but deeply rooted in the formal language of traditional European pottery.
