pam matthews

lichen vase III
£50.00
8.0 x 6.5 cm
coastal moon jar
10.5 x 12.0 cm
lichen pot
9.0 x 8.5 cm
coastal vase
13.0 x 8.0 cm
coastal vessel
12.0 x 11.0 cm
lichen vase V
14.0 x 9.0 cm
lichen vase IV
11.0 x 8.0 cm
landscape bowl
10.0 x 11.0 cm
landscape vase I
10.5 x 8.0 cm
landscape vase II
13.5 x 10.5 cm
lichen vase II
8.0 x 10.0 cm
lichen vase I
11.0 x 8.0 cm
sea urchin moon jar III
8.5 x 10.5 cm
sea urchin moon jar II
8.0 x 9.0 cm
sea urchin moon jar I
7.0 x 8.0 cm
mini sea urchin moon jar
7.0 x 8.0 cm
seascape bowl ii
12.0 x 16.0 cm
sea moon jar II
7.5 x 9.0 cm
urchin moon jar II
8.0 x 10.0 cm
urchin moon jar I
9.0 x 11.0 cm
sea moon jar I
10.0 x 15.0 cm
seascape vessel V
10.5 x 13.0 cm
sea foam vessel I
9.0 x 8.0 cm
moon jar II
8.5 x 11.0 cm
seascape bowl
13.0 x 16.5 cm
landscape vessel VI
9.6 x 6.0 cm
landscape vessel IV
10.0 x 7.5 cm
landscape vessel III
11.0 x 11.0 cm
landscape vessel II
11.0 x 9.0 cm
landscape vessel I
11.0 x 10.5 cm
pam matthews

Pam Matthews is a north of England based ceramicist with a deep affinity for Scotland. Having rediscovered a love for ceramics after a break from working with clay for thirty years,  she takes inspiration from the coastlines of the UK. Each piece is first hand-thrown using a white stoneware clay. Once leather-hard, a range of techniques are used, including sculpting by adding clay and taking away parts of each vessel, creating textures, incisions and horizons suggesting land, sea and sky. After bisque firing, a wide range of oxides are applied: washes, underglazes and glazes in a painterly fashion building up depth of tone, colour and tactile qualities. Each piece is then fired again in an electric kiln. Pam is fascinated with experimenting and exploring the magical effects and alchemy of layering glazes, and how the textures and curvatures of the individual vessel impact on the end results.

pam matthews

Pam Matthews is a north of England based ceramicist with a deep affinity for Scotland. Having rediscovered a love for ceramics after a break from working with clay for thirty years,  she takes inspiration from the coastlines of the UK. Each piece is first hand-thrown using a white stoneware clay. Once leather-hard, a range of techniques are used, including sculpting by adding clay and taking away parts of each vessel, creating textures, incisions and horizons suggesting land, sea and sky. After bisque firing, a wide range of oxides are applied: washes, underglazes and glazes in a painterly fashion building up depth of tone, colour and tactile qualities. Each piece is then fired again in an electric kiln. Pam is fascinated with experimenting and exploring the magical effects and alchemy of layering glazes, and how the textures and curvatures of the individual vessel impact on the end results.