British studio ceramics from the 1970s to the present day

Recognition and diversity

The formation of the Crafts Council in 1971 provided studio ceramics with an organisation which could promote the work of contemporary potters through publicity, publications and collecting.  Contemporary ceramics also received a boost from the growing demand through auction houses and dealers for the early work of potters like Bernard Leach.  Additionally many museums revived their collecting of ceramics.   The quality of ceramic training at the art schools in the 1970s was enhanced by teachers such as Hans Coper, Ian Auld and Ewen Henderson.  With such a favourable environment it is not surprising that the 1970s and 1980s saw a wide range of techniques and styles.

One of the most notable potters of the 1970s was Ewen Henderson whose highly individual work would have been unthinkable before the handbuilders of the 1960s.  He particularly enjoyed mixing different clays together and the cracking, shrinking and bubbling which occurred during firing became part of the very form of his pots.  Indeed his pieces were often so sculptural that at times they bore little resemblance to pots. 

In comparison to the rough pitted surfaces of Henderson’s work potters like Mary Rogers produced small porcelain pots, delicately painted in soft colours.  These were as impractical as Henderson’s pots but concept and form could hardly have been more different.

Many potters in the 1980s produced exuberant sculptural pieces which complemented the bright colours then in fashion.  These ‘funk’ ceramics have been both loved and loathed.  At first they could appear to be little more than gaudy and gimmicky but many of these pieces, such as Angus Suttie’s boxes or Carol McNicoll’s tea and coffee sets, were entirely functional. 

Although oriental inspired ceramics were not so highly favoured in the 1980s there were a number of potters like Malcolm Pepper and Poh Chap Yeap who still worked in this style. Plain glazed ceramics, based on Chinese pieces, which concentrated on form really came back into their own with the minimalism of the early 1990s. 

The end of the 20th century saw the death of a number of the country’s most famous potters.  For many people this signalled the closing of a chapter in the history of studio ceramics.  For a century Britain had been the undoubted focus for studio ceramics.  While Britain still has many excellent potters working today it is now competing in a truly international world of production and selling.  It will take an immense effort to rival the contribution made by the 20th century potters working in Britain.

For a more thorough history of British Studio Ceramics in the 20th century read Paul Rice ‘British Studio Ceramics’, The Crowood Press, 2002.