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My attraction to ceramics began when I first discovered the freedom clay gives you to create. Clay is a wonderful medium to work with — I’m continuously discovering new and exciting results with each process and the possibilities are infinite.
In my early 30s, I left a successful career in the fashion industry. I had worked for the couture house Catherine Walker & Co, a favourite of the late Princess Diana, and later menswear designer Oliver Spencer. I lived for my work, but the hours were very long and we all partied hard — and I knew it would be impossible to continue at this level and start a family. Oli taught me many lessons in life during this period. He showed me that if you work incredibly hard, anything is possible. I loved the team and it was particularly hard to leave.
I worked right up until a week before my eldest daughter was born, then I had to quit. I moved out of London and focused all my energy on raising a family. I started evening pottery classes at Richmond College London as a way of staying creatively connected while all-consumed by young family life. This was my first real experience with clay since my youth and I was completely captivated. I’d always been very good at making things with my hands, whether it be sculpting, casting or turning on the wheel.
Much happened during this period of my life. My relationship broke down and I moved to my childhood home with three children in tow to be near my extended family. Having time to rebuild my life allowed me to continue to pursue my love of making things.
Sculpture had become more accessible, but I longed to practice at the pottery wheel. In time, I was fortunate enough to be invited to assist in a local ceramic studio alongside a well-known Welsh potter, Dave Owen. He was extremely generous with his time and taught me the discipline of throwing. During this period, I was able to hone my wheel skills and glazing techniques before starting out on my own.
Dantes Ceramics emerged after a failed attempt at running a local art gallery. I retreated from pursuing financially demanding ventures and found great comfort in making small functional pieces to use in my own home. I was lucky to be surrounded by supportive friends who encouraged me to make and sell my work directly online. Looking back, there was an element of fate that I would pursue a career in ceramics after a close friend gifted me a kiln she had inherited.
I was raised in a creative community on the River Colne, and my father had a strong influence on my love for art and craft. He was an artist, and our family home was full of large colourful canvases and other work by local makers. He was a member of the famous Wivenhoe Arts Club, a big movement back in the 60s which welcomed renowned artists Francis Bacon and Denis Wirth-Miller.
I’m now extremely lucky to divide my time between my studio on the southeast coast of England and the Scottish Highlands. I’m drawn to the outdoors and my choices of glaze textures are very much influenced by coastal walks in the south and the dramatic mountain landscapes of Wester Ross in the Highlands.
An earthy, natural colour palette is woven into my work. I specialise in simple shapes made in three stoneware clay colours, and textured with iron flecks that become visible during the final firing. Each piece is unique — often imperfect — bearing signature fingermarks confirming the handmade quality. I strive to create shapes that are aesthetically pleasing with an emphasis on function.
A regular day for me starts at around 6 a.m., before the family awakes. I use the early hours of the day to catch up on emails, messages and customer orders. Most of my business comes through food stylists and photographers, so it’s vital I keep in touch with social media platforms.
After I’ve packed my four children off to school, my working day begins in the studio. I like to wedge clay and throw on the wheel for the best part of the morning, as I find my concentration is sharp and I’m most productive at this time.
Afternoons are better suited for less focused tasks: turning bases of bowls, attaching mug handles and glazing bisque ware. Each process is carefully completed by hand.
My kiln room is separate from the main studio, where I get a new perspective fully immersed in the nature of our garden.
The kiln is loaded twice a week for an eight-hour firing through the night. I often work long days, but once the family returns home they take precedence for the rest of the evening.
I’m often asked who I’d like to collaborate with next, and I have to say this question is particularly hard to answer. There are so many brilliant creatives that I’m already fortunate to work with. But, if I could have one more dream become a reality, ultimately I’d like to make ceramics for René Redzepi, chef and co-owner of Noma in Copenhagen. He’s so passionate about what he does — I have huge admiration for him. He aims to encapsulate the ocean on a plate, and I want to make that plate.
Dantes means “giving” in Latin, and this is the essence of my ceramics. I put all my energy and passion into each piece, to combine beauty and function for the owner to enjoy every day. I hope this inspires one to lead a slower, more reflective pace of life.
My attraction to ceramics began when I first discovered the freedom clay gives you to create. Clay is a wonderful medium to work with — I’m continuously discovering new and exciting results with each process and the possibilities are infinite.
In my early 30s, I left a successful career in the fashion industry. I had worked for the couture house Catherine Walker & Co, a favourite of the late Princess Diana, and later menswear designer Oliver Spencer. I lived for my work, but the hours were very long and we all partied hard — and I knew it would be impossible to continue at this level and start a family. Oli taught me many lessons in life during this period. He showed me that if you work incredibly hard, anything is possible. I loved the team and it was particularly hard to leave.
I worked right up until a week before my eldest daughter was born, then I had to quit. I moved out of London and focused all my energy on raising a family. I started evening pottery classes at Richmond College London as a way of staying creatively connected while all-consumed by young family life. This was my first real experience with clay since my youth and I was completely captivated. I’d always been very good at making things with my hands, whether it be sculpting, casting or turning on the wheel.
Much happened during this period of my life. My relationship broke down and I moved to my childhood home with three children in tow to be near my extended family. Having time to rebuild my life allowed me to continue to pursue my love of making things.
Sculpture had become more accessible, but I longed to practice at the pottery wheel. In time, I was fortunate enough to be invited to assist in a local ceramic studio alongside a well-known Welsh potter, Dave Owen. He was extremely generous with his time and taught me the discipline of throwing. During this period, I was able to hone my wheel skills and glazing techniques before starting out on my own.
Dantes Ceramics emerged after a failed attempt at running a local art gallery. I retreated from pursuing financially demanding ventures and found great comfort in making small functional pieces to use in my own home. I was lucky to be surrounded by supportive friends who encouraged me to make and sell my work directly online. Looking back, there was an element of fate that I would pursue a career in ceramics after a close friend gifted me a kiln she had inherited.
I was raised in a creative community on the River Colne, and my father had a strong influence on my love for art and craft. He was an artist, and our family home was full of large colourful canvases and other work by local makers. He was a member of the famous Wivenhoe Arts Club, a big movement back in the 60s which welcomed renowned artists Francis Bacon and Denis Wirth-Miller.
I’m now extremely lucky to divide my time between my studio on the southeast coast of England and the Scottish Highlands. I’m drawn to the outdoors and my choices of glaze textures are very much influenced by coastal walks in the south and the dramatic mountain landscapes of Wester Ross in the Highlands.
An earthy, natural colour palette is woven into my work. I specialise in simple shapes made in three stoneware clay colours, and textured with iron flecks that become visible during the final firing. Each piece is unique — often imperfect — bearing signature fingermarks confirming the handmade quality. I strive to create shapes that are aesthetically pleasing with an emphasis on function.
A regular day for me starts at around 6 a.m., before the family awakes. I use the early hours of the day to catch up on emails, messages and customer orders. Most of my business comes through food stylists and photographers, so it’s vital I keep in touch with social media platforms.
After I’ve packed my four children off to school, my working day begins in the studio. I like to wedge clay and throw on the wheel for the best part of the morning, as I find my concentration is sharp and I’m most productive at this time.
Afternoons are better suited for less focused tasks: turning bases of bowls, attaching mug handles and glazing bisque ware. Each process is carefully completed by hand.
My kiln room is separate from the main studio, where I get a new perspective fully immersed in the nature of our garden.
The kiln is loaded twice a week for an eight-hour firing through the night. I often work long days, but once the family returns home they take precedence for the rest of the evening.
I’m often asked who I’d like to collaborate with next, and I have to say this question is particularly hard to answer. There are so many brilliant creatives that I’m already fortunate to work with. But, if I could have one more dream become a reality, ultimately I’d like to make ceramics for René Redzepi, chef and co-owner of Noma in Copenhagen. He’s so passionate about what he does — I have huge admiration for him. He aims to encapsulate the ocean on a plate, and I want to make that plate.
Dantes means “giving” in Latin, and this is the essence of my ceramics. I put all my energy and passion into each piece, to combine beauty and function for the owner to enjoy every day. I hope this inspires one to lead a slower, more reflective pace of life.
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