I hope people feel a sense of connection and reverence for the planet and the cosmos we are part of.
We’re delighted to feature Claire in this artist spotlight, following her recent selection as an Associate Member of the Royal Birmingham Society of Artists (RBSA). This is a significant milestone, and we’re so proud to celebrate this achievement with her as part of the LSA community.
Claire’s ceramic practice is deeply rooted in a sense of connection—to the earth, the cosmos, and the quiet power of transformation. Her vessels often evoke landscapes, seascapes and celestial forms, blending ancient techniques with elemental materials to create surfaces that feel both timeless and otherworldly. With a focus on slow, tactile processes like hand-burnishing, Claire’s work explores contrasts: grounded and ethereal, natural and alchemical, delicate and enduring.
In this interview, we speak with Claire about her inspirations, techniques, and the spiritual undercurrents that guide her creative process.
LSA: What role does the sense of spirituality or connection to the universe associated with your work play in your creative process?
We live in an incredible world—absolutely mind-blowing when you really stop to consider it. At the same time, it can offer immense peace and tranquillity. I think I’m trying to express both of these ideas in my work: the awe-inspiring nature of the cosmos and the quiet grounding of the earth. There’s a spiritual sense of wonder in trying to capture these contrasts, and a desire to reflect our deep connection to the universe we come from.
LSA: You mention landscapes, seas and even cosmic imagery being seen in your vessels. Do you begin with these themes in mind, or do they emerge from the firing process?
Yes, I begin with them in mind. I’ve experienced such beauty in the natural world throughout my life, and I carry these visual memories with me—they’re embedded in how I see form, texture and colour. When I’m working, I’m drawing on these experiences from the start, although the firing process often enhances or even surprises me with how these themes emerge more vividly.
LSA: You use traditional and labour-intensive techniques such as burnishing by hand — even with a lightbulb! What draws you to these slower, more tactile methods?
I’m drawn to these techniques because of the unique quality of surface they produce. Burnishing gives the clay a deep, organic sheen—almost like polished stone or ancient bone. It helps the piece feel as though it could have grown from the earth itself, or been uncovered from a distant time. The process is slow, tactile and intimate—it allows me to connect with the form as it develops, and that relationship matters deeply to me.
LSA: You’ve spoken about glaze and surface as being key to the “essence of the pot.” What kinds of textures or contrasts excite you most?
I’m particularly excited by the contrast between the burnished, natural surface of the vessel and the luminous metallic lustres I use—especially gold and reduced copper carbonate. These materials reflect light in different ways and evoke both elemental and cosmic associations. I love how a pot can look like it’s been dug from the ground but also suggest something celestial or alchemical.
LSA: What’s something you hope people feel or imagine when they encounter one of your pieces?
I hope people feel a sense of connection and reverence for the planet and the cosmos we are part of. I want them to sense that chemistry and transformation can produce stunning beauty—and that art and science are deeply intertwined. I also hope my work touches something fundamental in the human experience, something that transcends borders. We are all connected, and I’d love for my work to quietly suggest that we should aim to be world citizens rather than divide ourselves into ever smaller tribes.
LSA: Do you have any final thoughts on joining the RBSA?
Being selected as an Associate Member of the RBSA is a huge honour and a real delight. I’m excited to meet and work alongside other committed artists who share a passion for their practice. I’m also really looking forward to getting involved in the society—helping to hang exhibitions, learning more about how everything runs, and contributing wherever I can. It feels like the beginning of a new chapter.
