Caitlin Jenkins is an eighth generation potter based at Ewenny Pottery in South Wales.

“My passion for pots began at an early age. My family have been making pots for over eight generations. I was taught to throw by my father and spent most of my childhood practising the craft in the pottery alongside him. I studied a BA (Hons) in Ceramics at Cardiff College of Art and an MA at the Royal College of Art. I continue to work at the family pottery in Ewenny.

Throwing is integral to my work.  I continue to be inspired by the sensuous quality of round forms.  Exploring glazes, the way they meld, the richness and depth of colour they create reminds me of the translucency of glass or the gossamer of a watercolour.  My pots are made to be used, leaving my hands and transferring a tangible pleasure to others.”

“My work has simplicity in its design. I try to reveal the character of the material when I work it…to show its natural organic beauty.”

As well as large scale Sculpture, Ann Catrin Evans creates functional Architectural Adornment, Home Accessories & Jewellery.

Her work encapsulates a spirit of beauty – craftsmanship is her heart & art. Honest craftsmanship & functionality combine in a celebration of Welsh heritage mixed with a paired back timeless aesthetic. A very precise sort of understatement combined with exceptional craft. A quiet determination to make pieces that are both beautiful & useful.

Collections of modern love spoons, door furniture, bespoke intricate pieces of jewellery, statement sculptures in the landscape…all make powerful connections between the viewer and the hand made piece.

Whether working in forged steel or copper, the ordinary becomes the extraordinary in Ann Catrin Evan’s hands.

Megan Ivy Griffiths is a pattern designer, illustrator and embroiderer who studied her Bachelor’s degree at Falmouth University and is now based in the green, glorious Hampshire countryside.

She harbours an ardent passion for the beautiful and unusual, and is inspired by whimsical fairy-tales and folk costumes from around the world, and calm ambles through forests and fields. Her work is a concoction of tenderness, gentility and intricacy. Her stitches tell stories; as a trained illustrator, as well as using a pen or pencil, she uses needle and thread to create captivating characters and little companions for everyday life.


“Woodworking is in my blood; my grandfather and great grandfather before him were traditional clog makers in Brabant, the Netherlands. As a child, I watched my granddad at his special clog making bench working wood with interesting chisels. Me, I was just whittling sticks or would be found using my dad’s tools in the shed at home. Without anyone noticing, slowly but surely, I followed my ancestors to become the first woman professional woodworker of the family.

I studied graphic design before returning to wood as an apprentice in a small Dutch restoration business learning to make original old-style windows and doors with the locked-up mortice and tenon joints, as well as the new innovative techniques.

Nine years ago, I moved to Pembrokeshire as a self-employed joiner/ woodworker, more recently specialising in spoon-carving and bowl-turning. Today, my relationship with wood has become increasingly close-up, as I focus on intimate hand-carving, using hand tools, appreciating the different species of trees, going with the grain, fighting it, smelling it and ultimately loving it, creating my own individual style striving for practical and beautiful designs.”


David White’s ‘The Whittlings’ is a tiny company in North Wales, making handmade spoons, spreaders, cups, trays and boards using traditional green woodworking techniques and native broadleaf species sourced from woodlands close to David’s home.

‘With an end goal in mind, I walk into woodland looking for the perfect piece of green (fresh, living) wood. I take only what I need. I cut the wood in the right way to encourage regrowth. Working the wood green allows the use of human powered tools only – an axe, carving knife and crook knife. Understanding the character of local woodland species and its grain allows for a strong product, that will last and age beautifully. It’s not quick turn around work, but it’s deeply satisfying.’

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