David Shrigley

Heroin and Cocaine shakers

Christopher Wool Untitled, 2020 Fine bone china 10 1/2 in diameter 26.7 cm diameter Edition of 175

Steve Cartwright, KT Handmade Sculptural Ceramic, Stoneware Clay, fired to 1250c 19 x 24 cm (7.4 x 9.4 in) Edition of 5 per year

Simon Shepherd, Cheeser, 2015 Ceramic Sculpture Limited edition of 3 17.8 x 22.9 x 22.9 cm / 7 x 9 x 9 in Brighton-based sculptor Simon Shepherd ...

Mark Beattie, Pink Fracture, 2023 Powder coated copper & dimmable LED light on mirror polished stainless steel plinth 35 x 35 x 86 cm (13.77 x 13.77 x 33.85 in) Edition of 3

Mark Beattie, Pink in Black Spiral, 2023 Painted copper on a burnt plinth 65 x 40 x 45cm (25.59 x 15.78 x 17.71 in) Unique artwork

Morys Davies, 21st Century Relic, 2023 Gypsum cement with embedded found material Original sculpture 15(w) x 15(d) x 16(h)cm 5.9 x 5.9 x 6.29 in This piece was exhibited as pa...

Hung Yi was born in Taichung, Taiwan in 1970. The artist’s works are inspired by Taiwanese culture or day-to-day life in Taiwan. In the 1990s, it was popula...

Perry Haas is a ceramic artist making functional pottery and focusing on wood-firing techniques. Drawing from a love for the wood-fired ceramic surface, Perry looks to anticipate the...

Perry Haas is a ceramic artist making functional pottery and focusing on wood-firing techniques. Drawing from a love for the wood-fired ceramic surface, Perry looks to anticipate the...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...

Takashi Murakami (Japanese, b. 1962) Gargantua on Your Palm, 2022 Medium: Porcelain plate (fine bone china) Dimensions: 10 1/2 in diameter 26.7 cm diameter Edition of 250: Printed s...