“Simplicity is one of the hardest effects to produce in clay: I use simple glazes, simple methods of making and what appears to be a simple way of firing them – wood firing. I find this way of work both exciting and humbling.”
Mark Griffiths

After leaving school Mark worked for three very different potters for two years before setting up his first workshop in 1975, with the help of a New Craftsman Grant awarded by the Crafts Advisory Committee. This enabled him to build his first kiln, buy some equipment and began what has become a long relationship with clay.

Mark has been making pots in Culmington, Shropshire since 1983.

Pages: 1 2Next >Last »

Gas is a native of Japan residing in England. He found that after moving to England, he became somewhat homesick for Japan, but that he could find solace in ancient wood fired Japanese pottery.

Gas’ quest for a touch of his home country led him to acquire broad knowledge about medieval Japanese wood fired ceramics. Wanting to understand the pottery he loves on its innermost levels, Gas delved far beyond simply studying pieces and identifying techniques — he began building his own wood fired kilns and making pottery to fire in them. Gas’ expertise has been of use to collectors and museums, as well as to himself in his work as an art dealer.

Gas is a prolific kiln builder. In the last dozen years, he has built thirteen kilns — six of which have been anagamas. He prefers to build his kilns following traditional yet simple designs — for example, his kilns have no ash pits or complicated damper systems. His designs were influenced by his visits to archeological kiln sites in Japan as well as his discussions with Japanese potters practicing the ancient wood fired arts in our modern times.

Toshitaka Tani is the younger of two brothers who have been
central to the rediscovering and reworking of anagama firing in Shigaraki. He has aquired a fine collection of medieval Shigaraki pots, and these clearly inspire his work.

He fires a rare “double-barrelled” type of simple tunnel anagama kiln. Each firing last two weeks, and several of the pots in this exhibition have been fired more than three times – six weeks for the ash to accumulate and melt, giving unrivalled depth of colour over the characteristic Shigaraki clay “starred” with bubbles of melted feldspar pebbles.

Shinichi Honma is one of the leading potters in the northern part of Japan. His woodfired anagama kiln is at Fujisawa, in Iwate province, an area terribly effected by this year’s tsunami and earthquakes.

We are honoured to host this exhibition of Shinichi Honma’s fine and varied work.

A percentage of all his sales will be donated by us to the charity Ganbare! Kamataki to help rebuild the lives of potters affected by the recent disasters.