J u d i t h   H a n s o n

'A glaze journey is what underpins my choice of pots for this exhibition. The same strong black tenmoku underglaze works in combination with overglazes which are based on one shared, invented recipe. These overglazes are both distinctive and familial, ranging from a delicate, mottled blue glaze through a multi-coloured, complex galaxy-like glaze to a dramatic, textured leopard-skin glaze.'

'When making glazes, my aim is to avoid a flat, homogeneous surface in favour of depth, movement and individuality. My experimentation to find these glazes, and their resulting distinctive surfaces, is based on serendipity rather than science. Even after discovering two glazes that seem compatible, it is necessary to strike a balance between technical harmony and the chaotic unpredictability which gives the combination its artistic energy.'

'A few of the pots in this exhibition show signs of the glazing process: there may be a drip running over the foot ring where the glaze combination is very fluid or there may be a patch where the overglaze has been so thick that it has carried itself away from the underglaze. I've nevertheless included them because they speak to the user of the underlying process.'

'What is most important for me, as a maker of functional art, is the interaction between my pieces and those people who are using them. Just as it is important to hold hand-made pieces, I hope that this glaze journey will prompt a different way of looking at the surface of forms in order to enhance visual appreciation, as well as increased awareness of the complex process of creation that underlies every act of making.'

Judith Hanson began working with clay in 2011 after many years of collecting and studying ceramics (as a therapeutic antidote to careers in academia and the law). After having been based in Chris Bramble's studio for five years, she established her own studio in St John's Wood in 2016.


Judith's primary influences are early Chinese functional ware and late-twentieth-century New Zealand studio pottery. She makes traditional, wheel-thrown stoneware forms and focuses on developing glazes, experimenting with how glazes interact in different combinations and with different application techniques. She makes individual pieces, best categorised as functional art.

C U R R E N T   W O R K 

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