Details
Porcelain & glaze
Sculpture and plinth as individual pieces
Sculpture: H. 14 x w. 18 x d. 15 cm
Plinth: H. 12 x w. 12 x d. 12 cm

Sculpture £675
Sculpture & Plinth £925
 
 
___
About Helena Lacy
 
Helena Lacy is a London-based ceramic artist working across sculpture and sculptural furniture. Her practice explores material transformation, home, memory and storytelling, with pattern playing a central role. Inspired by patterns formed through natural movement and those embedded in print, she uses experimental glazing and printing techniques to balance structure with unpredictability. An ongoing influence in her work is an interest in found objects and ceramic fragments, understood as traces of lived experience carrying layered stories of ownership and place, which inform her approach to surface and pattern.
 
These ideas are central to Re-print, a series examining how ceramic surfaces preserve and obscure storytelling. Originating from observations of image distortion in water reflections, understood as a form of living, unstable print, the work translates fluid imagery into fixed ceramic forms. Using a glaze-printing method developed during her MA at the Royal College of Art, Lacy layers and reinterprets classical blue and white porcelain imagery, allowing familiar motifs to fragment and overlap, reflecting how stories are remembered and retold, and the longstanding and quiet power of material storytelling.
 
Helena Lacy (b. 1991) is a London-based ceramic artist working across sculpture and sculptural furniture, Her practice explores material transformation, print, memory, and storytelling. She holds an MA in Ceramics & Glass from the Royal College of Art (2024) and a BA (Hons) in Technical Arts and Special Effects from Wimbledon College of Art (2014). Her work has been exhibited at Collect Art Fair, New Designers Selects, Selfridges, London Craft Week, London Design Festival and Paris Design Week. A finalist in the Liberty Open Call, Lacy has completed residencies in China, Japan, Germany and Finland and was awarded Artist in Residence at the Sarabande Foundation (2024–2025). Her work has been featured in Homes and Gardens, Livingetc, Colour Hive, TheWick, Emerging Potters, Apollo, Architectural Digest, ShowStudio and A2Z Fashion Magazine.
 
_
Artist Q&A - Sept 26
 
1. When did you start working with clay/paint?
 
I first started working with clay during my BA at Wimbledon College of Art, where I studied Technical Arts and Special Effects. The course was designed to teach a wide range of technical skills for the film and television industry, and we used clay over armatures to create realistic sculptures and prosthetics.
 
It was only after graduating that I discovered ceramics and a completely different way of working with clay. I had to retrain myself to sculpt hollow forms, rather than relying on an armature for structure, which opened up a whole new way of making for me.
 
2. Where is your studio? How long have you worked there?
 
My studio is at the top of Ladbroke Grove, next to the canal, and is part of Kindred Studios. I moved into this studio towards the end of last year, after finishing a year-long residency at the Sarabande Foundation.
 
3. Describe a typical day in the studio.
 
I have to start the day with a to-do list, otherwise I get distracted by all the different things I have to complete. Then it’s coffee, music and getting on with whatever needs to be done that day. My days can vary quite a lot depending on what I’m working on, from sculpting and printing to testing, firing kilns, photography and all the admin involved.
 
4. What is your favourite part of your process?
 
Printing onto glaze. It’s a process I developed during my MA and I still find it really exciting. There is always an element of unpredictability in how the glaze moves and distorts. I really enjoy experimenting with materials and discovering something I wasn’t necessarily expecting.
 
5. Do you listen to anything as you work?
 
Always, Usually music or podcasts. What I listen to really depends on what I’m doing.
 
6. Which piece in your collection came first?
 
The Re-print Columns. They were some of the first pieces I made using my draped, printed glaze technique. At the time, I was experimenting with different forms and trying to understand how the glaze would move and distort the imagery during firing. Those early columns became the starting point for developing the process further and eventually scaling it up into larger sculptural and furniture pieces.
 
7. Where did you look for inspiration for this body of work - from past series or new ideas?
 
The original inspiration for this body of work came from my interest in print and its use within ceramics, which led me to look more closely at blue and white porcelain imagery and the stories these objects can hold. This interest eventually took me to Jingdezhen in China, often referred to as the porcelain capital, where I developed a new series, What the Bowl Holds.
 
While there, I became intrigued by the broken ceramic shards that could be found throughout the city. I started thinking about the stories held within something as simple as a bowl - where it came from, who owned it, the meals eaten from it and the conversations shared over it - and how, once broken, only fragments of those histories remain.
 
I have always been drawn to the hidden narratives held within objects and materials. When I returned from Jingdezhen, I brought bisqueware back with me and began using Shanshui-inspired imagery from my time there to develop the newest works in the collection, Layered Traces.
 
8. What’s made the biggest impact on your artistic practice?
 
Studying for my MA in Ceramics at the Royal College of Art had a huge impact on my practice. It pushed me to be braver, to experiment more freely with materials and processes, and to really question what I wanted my work to explore. 
 
9. What’s been the highlight in your practice so far?
 
Showing at Collect Art Fair earlier this year with Caroline Fisher was a real highlight. I had wanted to show at Collect for a long time, so seeing my work there felt like a real dream come true moment.
 
10. Do you have a book/music/exhibition recommendation for us?
 
Books: Fewer, Better Things by Glenn Adamson, and A Dictionary of Color Combinations by Sanzo Wada.
 
Exhibition: Lanthanides, Rare Earth Spectra by Charly Blackburn at County Hall Pottery 
 
____
Delivery Options
Delivery to Mainland UK within 5 working days
International delivery available within 10 working days
 
___
14 Day Guarantee
If for any reason you are not happy with your purchase, we offer a full refund for any returns within 14 days from delivery date.