Stack of six ceramic coffee mugs with a crackled glaze pattern, arranged in a pyramid shape on a dark surface against a wooden background.

HANDMADE POTTERY · BRISTOL

POTS TO PICK UP, USE AND ENJOY.

I'm Nicholas, and I make functional pottery and ceramics in my Bristol studio. Simple forms, glazes with plenty of character, and the occasional surprise from the gas kiln.

Made for everyday use, although I do hope you'll enjoy looking at them too.

THE COLLECTION

Find something you like.

Mugs, cups, bowls and more, all thrown by hand and made to be used. I'm rather particular about how a pot feels when you pick it up - the weight, balance, shape of the rim. Small things, but they make a difference.

A handmade ceramic cup with a crackled glaze finish and small reddish-brown spots, placed on a dark surface with a blurred wooden background.

Cups

A person holding a handmade ceramic bowl with a textured surface, showing the base, placed on a wooden surface.

bowls

A handmade ceramic mug with a textured green glaze and white speckles, placed on a dark surface with a wooden background.

mugs

studio finds

THE INTERESTING ODDS & ENDS

A person's hand holding a small handmade ceramic cup with a textured glaze.

One-offs, experiments, samples and seconds. Some are the result of trying something new, others have come out of the kiln rather differently than expected.

Quite often, they're my favourites.

It's an ever-changing selection, so have a look and see what's there.

A hand holding a rustic, handmade ceramic mug with an earthy glaze and textured surface, against a wooden background.

the making process

A bit of control. A lot of fire.

I'm quite particular about the shape of my pots. The curve of a bowl, the weight of a mug, the way a rim feels when you drink from it. I can spend an unreasonable amount of time adjusting something by a couple of millimetres, but I think these things matter when you're using a pot every day.

The glazes are another matter. I make my own recipes, drawing on Japanese ceramic traditions, and fire my work in a gas kiln. The firing creates all sorts of variations in colour and surface, some of which I can encourage, and some of which appear to have very little to do with me.

That's one of the things I enjoy most about the process. You can put a great deal of thought into making something, but there's always an element of surprise when you open the kiln.

Fortunately, I rather like surprises. The good ones, anyway.