top of page
The Gallery by the Sea
Gallery Open 11am-4pm Fri/Sat/Sun
(BH Mondays & by appointment)
Bull Bowl
by Jeremy Clark
Glazed ceramic sculptures fired to white-hot stoneware temperatures in my Norwich studio. Human, human-like figures, beasts and chimeras.
‘Crazy Dog’ designs hand-painted onto some sculptures by Ingrid Barber
Jeremy and Ingrid are founding members of the Acid Drop Copse Collective.
Glazed ceramic sculptures fired to white-hot stoneware temperatures in my Norwich studio. Human, human-like figures, beasts and chimeras.
‘Crazy Dog’ designs hand-painted onto some sculptures by Ingrid Barber
Jeremy and Ingrid are founding members of the Acid Drop Copse Collective.
Bowl
by Louise Renshaw
Louise has been working with ceramics for the past 10 years. She was tutored by the Suffolk artist Sandy Larkman and she continues to attend a weekly class with her.
In 2019 she converted an outbuilding into a pottery studio at her home in Suffolk to allow her to spend more time working with clay. This has enabled Louise to experiment with glazes to explore how the firing process produces different colours on different mediums, developing a personal style. She mainly throws pots, bowls and vases that are both practical and decorative, using different clays and porcelain. Louise continually changes the shape, size and style of her work, resulting in each piece being unique.
Louise has been working with ceramics for the past 10 years. She was tutored by the Suffolk artist Sandy Larkman and she continues to attend a weekly class with her.
In 2019 she converted an outbuilding into a pottery studio at her home in Suffolk to allow her to spend more time working with clay. This has enabled Louise to experiment with glazes to explore how the firing process produces different colours on different mediums, developing a personal style. She mainly throws pots, bowls and vases that are both practical and decorative, using different clays and porcelain. Louise continually changes the shape, size and style of her work, resulting in each piece being unique.
Vase
by Louise Renshaw
Louise has been working with ceramics for the past 10 years. She was tutored by the Suffolk artist Sandy Larkman and she continues to attend a weekly class with her.
In 2019 she converted an outbuilding into a pottery studio at her home in Suffolk to allow her to spend more time working with clay. This has enabled Louise to experiment with glazes to explore how the firing process produces different colours on different mediums, developing a personal style. She mainly throws pots, bowls and vases that are both practical and decorative, using different clays and porcelain. Louise continually changes the shape, size and style of her work, resulting in each piece being unique.
Louise has been working with ceramics for the past 10 years. She was tutored by the Suffolk artist Sandy Larkman and she continues to attend a weekly class with her.
In 2019 she converted an outbuilding into a pottery studio at her home in Suffolk to allow her to spend more time working with clay. This has enabled Louise to experiment with glazes to explore how the firing process produces different colours on different mediums, developing a personal style. She mainly throws pots, bowls and vases that are both practical and decorative, using different clays and porcelain. Louise continually changes the shape, size and style of her work, resulting in each piece being unique.
Anglian Potters Spring UP @ Ferini 2025
25 potters from around East Anglian show their wares for 5 weeks here at Ferini. The exhibition is on during both of the Bank Holiday weekends in May
Jug
by Andrew Eastaugh
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
by Stephanie Carlton
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
by Amanda Newman
by Stephanie Carlton
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
by Amanda Newman
by Andrew Eastaugh
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
by Stephanie Carlton
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
Plate
by Ann Hebden
This spring I have been continuing to work on functional stoneware ceramics – platters, flower vases, dipping bowls – influenced by the colours of the coastline at Harwich where I live. In addition, when days are wind and rain free, I’ve been outside firing more hand thrown Raku stoneware vessels, glazed or treated with horsehair and feathers, with the odd foray into hand built frost proof garden ceramics made with heavily grogged clay and treated with oxide.
This spring I have been continuing to work on functional stoneware ceramics – platters, flower vases, dipping bowls – influenced by the colours of the coastline at Harwich where I live. In addition, when days are wind and rain free, I’ve been outside firing more hand thrown Raku stoneware vessels, glazed or treated with horsehair and feathers, with the odd foray into hand built frost proof garden ceramics made with heavily grogged clay and treated with oxide.
by Andrew Eastaugh
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
I am inspired by the alchemy of the making and firing process that transforms the mud like clay into something of beauty and purpose, with each pot having its own unique characteristics. For me the throwing process is central to what I do, as there is a meditative relationship between the potter and the clay, together being engaged in a moment-to-moment dance of energy and form. Ideally the finished pot, although a fixed form, embodies the creative dynamic.
I use both stoneware and porcelain clays, sometimes in combination. All my work is wood fired as that process compounds the alchemy adding both a softness to the glaze colours and surface as well as allowing the fire to leave its own mark on the pot, introducing a variation into the pots, as no two places in the kiln are exactly the same, and no two firings are the same.
“Have nothing in your house that you do not know to be useful or believe to be beautiful “
William Morris
by Stephanie Carlton
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
My ceramics practice encompasses throwing porcelain and stoneware on the wheel, and hand-building pieces in porcelain. It is concerned with abstracted contrasts of light and dark on clean white forms.
I use wax, expressive mark making, and layering of the surfaces with stains and oxides, creating landscapes in the round. These are drawn from my experiences walking in different places, and inspired by pathways, geological structures and strata.
Pieces stand alone or as sets, creating expansive landscapes in which stillness and movement are explored.
I use gold leaf as an on-glaze surface, marking through it to create visual reminders of pathways and tracks. Corroded copper leaf evokes the weathering of natural surfaces and highlights the changing nature of materials extracted from the earth.
Vase
by Ann Hebden
This spring I have been continuing to work on functional stoneware ceramics – platters, flower vases, dipping bowls – influenced by the colours of the coastline at Harwich where I live. In addition, when days are wind and rain free, I’ve been outside firing more hand thrown Raku stoneware vessels, glazed or treated with horsehair and feathers, with the odd foray into hand built frost proof garden ceramics made with heavily grogged clay and treated with oxide.
This spring I have been continuing to work on functional stoneware ceramics – platters, flower vases, dipping bowls – influenced by the colours of the coastline at Harwich where I live. In addition, when days are wind and rain free, I’ve been outside firing more hand thrown Raku stoneware vessels, glazed or treated with horsehair and feathers, with the odd foray into hand built frost proof garden ceramics made with heavily grogged clay and treated with oxide.
If you've enjoyed looking at our website please consider rating us on social media or on GOOGLE
bottom of page