Contemporary Ceramics is located in London, opposite the British Museum. At the front of the gallery, a retail space sells studio ceramics from over 80 makers, who are members of the Craft Potters Association. This is complemented by a dedicated gallery space which hosts regular solo and group exhibitions. From a membership of nearly 400, five new makers are selected to be featured in the gallery every two months. This blog highlights their inspirational stories and tales of ceramics.
"I have always found the potter’s wheel to be a wonderful tool that is capable of much more than just making round pots."
Katerina Evangelidou in her studio
I was born in Athens and studied ceramics at West Surrey College of Art and Design (currently University for the Creative Arts). I now live, work and teach in Farnham where my studio has been established since mid-‘80s.
The first sight of the freshly cut surface of grogged clay left me spellbound...and the rest is history.
I have always found the potter’s wheel to be a wonderful tool that is capable of much more than just making round pots. All the making of my work starts and finishes on the wheel, including flattening, changing of form, wire cutting and on occasions the re-throwing of a piece of work.
Early Cycladic figures with their economy of design along with the controlled physicality of Japanese pots have always been a spring of inspiration.
"I just set up the circumstances to the best of my ability and allow things to happen."
In the kiln
Wood-firing came as a natural choice. The fly ash in the wood-firing kiln (designed and built by Graham Ellerby) along with a little salt vapour that is added towards the end of the firing, emphasise the edges and develop a very natural and desirable dialogue with the form of the work.
"Unpredictability keeps me going."
I would like to think that after all these firings I would be able to understand fully and harness the dynamics of the wood-firing but the more I do it the less I know. And this unpredictability keeps me going.