This piece showcases Wendy’s fascination with erosion and its impact on geological formations. Hand building techniques are combined with carving to exaggerate the natural forms, creating a piece that is at once contemporary and ancient, using the natural texture of clay to connect the living with the past.

The works are high fired and are suitable for any interior or exterior spaces. 

Margaret enjoys using different surface design techniques to create her multi component sculptures. Her 'Black Sea, Blue Harbour' scene is a construction of three blown forms with multiple layers of coloured glass that Margaret has sandblasted through the different layers.

One of a series of small figurative pieces, this arching form is typical of an Angela Farquharson sculpture where she seeks to preserve the ‘norms’ of classical sculptural forms while making her work more emotive and ‘modern’. 

Inspired by the geology of the North Wales coastline, the unusual colours within this piece echo the tones of a rockface bleached by the elements over time - the coastal story continued through the coral like structure of the piece. 

The clay is hand built and gouged before being glazed multiple times. Between glazing's titanium oxide is brushed onto the surface to give the soft yellow and greys of this beautiful and unusual piece.

The stone is infused with copper during the firing process to enhance the natural colours and textures of rock found on the coastline of North Wales. The abstract form captures the ‘movement’ of rock and seaweed seen through the surface water of a rock pool, referencing the texture, colour and form of coral. 

Named after the Greek goddess of love, this beautiful sculpture showcases Angela’s interest in classical sculptural forms. One of a series of small scale pieces  where she explores the sensuality of the human form, the natural unglazed porcelain finish is used to amplify the sensuality of the piece.

Black figurative sculpture