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. 

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. 

A detailed study in clay, inspired by the heavy millstones crafted from ancient stone and etched by the milling of grain.

Made by using a range of hand building techniques, the clay is carved to create copper ribbons of clay from one focal point. Multiple layers of glaze are then added to amplify its authentic stone character. 

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

It’s ‘broken’ edge draws attention to the fragility of our natural world and calls us to consider the tension between decay and regeneration - and the inherent beauty which emerges from erosion.

Reminiscent of stone circles and historic obelisks, this piece reflects Wendy’s fascination with stone and its place in the landscape. The unusual colouring echoes the soft tones which emerge within stone as it reacts to the weathering of  time, the curving mark through the clay an additional focal point to draw the observer into the piece.

Barely There (2) - a ceramic sculpture created from a hand woven metal mesh dipped in ceramic slip and fired at high temperature to create the distortions seen within the sculpture. 

With an almost ethereal quality, the sculptures are both beautiful, beguiling and thought provoking.

A response to the curatorial brief of Black and Gold, Barely There (2) is part of a continuing series of work where Petersen draws our attention, through art, to the fragility of our built environment and the experience of many as they live on the edge of safety in inadequate housing. 

Drawing attention to these issues is a fundamental element of Petersen's work, but in doing so she creates pieces of intricate detail and with the meticulous attention to detail and experimentation that is typical of this emerging and gifted ceramicist. 

A ‘hand woven’ sculpture shaped by the heat of the kiln to bring the viewer inside the built environment. 

To create these delicate sculptures, Petersen weaves a metal ‘fabric’ dipped in a ceramic slip. The sculptural distortions result from the intense heat of firing, so that the pieces are always unique, unexpected and uncomfortable - confronting us with the fragility of our constructed world through sculptures of a rare and delicate beauty. 

Created for Collect 2025, Night Time Dreams is one of an ongoing series of sculptures created by Petersen to highlight the inadequacies and inequalities of our current housing system. 

With the addition of black crystals and gold highlights to meet our curatorial theme of Black and Gold, she extends that conversation to denote the mould that creeps across the surface of inadequate housing, but adds gold to reflect the hope for change. 

A ceramic sculpture epitomising the simplicity of form and textural elements typical of Wendy Lawrence’s work.                  

The herringbone pattern is carved with hand tools to echo the striations found in rock and ancient stone edifices,  becoming part of the form as well as the surface of the piece. 

Inspired by ancient stone circles this piece generates a sense of solidity and continuity, connecting us with our heritage and spiritual landscape.

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