2 - 27 September 2026: Last Orders by Camille Biddell

Opening night Wednesday 2nd September, 6-8pm

We can't wait to welcome Glasgow based maker, Camille Biddell who describes the work in this exhibition as follows, "I use terracotta to hand build almost all of my pieces - each slab is embossed with pattern and decorated with colourful slip before taking form. I love the process of working with wet slip, it has to be done quickly which keeps my process dynamic and surprising. I hope my work playfully mixes references into something decadent and fun - from British boozers to the Baroque!"

We ask her a few questions which you can read below about her practice, hopes and dreams.

What first drew you to clay, and how did you end up studying at Clay College Stoke-on-Trent?

I studied Fine Art at Edinburgh College (ECA) and during my third year I did an Erasmus year in France. I spent the first 6 months at the Ecole des Beaux Arts in Strasbourg where I was placed in the ceramics department by chance! That’s when I became hooked on clay and learnt the basics of throwing and making glazes. 

After my degree I was really into social art practice, and felt my pottery was a bit at odds with this, but during the pandemic I spent a lot of time making pots. I was living in Margate and increasingly getting work teaching beginner pottery as well as assisting a ceramic artist. I felt like a bit of a fraud as there were huge gaps in my knowledge, and I couldn’t realise the ideas in my head with the skills I had. I started looking into masters (of which there aren’t many in the UK!) and that led me to Clay College, which seemed the most technical course out there. Developing my skills also allowed me to marry my interest with community arts, as I teach clay workshops regularly now too. 

What has had the biggest influence on the aesthetic of your work?

That’s a hard question! I think the ethos of the aesthetics I am drawn to is very influenced by expressionist pottery – particularly Americans such as Betty Woodman and Voulkos – but also artists like Simon Carroll, Phil Eglin, Jeremy Steward and Jean-Nicolas Gerard. People that take risks and push the possibilities of what clay can do.

The physical aesthetics of my current work comes from the textures around me – pub wallpaper, metal work, patterns in textiles and ornate and decadent forms I’ve seen in museums.

You both throw and handbuild—what draws you to each technique, and what do you enjoy most about their distinct rhythms?

I was first drawn to throwing as a technical skill I could learn which felt like an antidote to my concept-driven art school. I like that you can tangibly see improvement as you get into a flow with it, and notice subtle differences within a batch of pots, some having more energy than others. 

I came to hand-building later to escape the uniformity of throwing, and to add surface decoration within the making – rather than just on top. There is an intensity to my process - speed is important to make sure everything is the right consistency. However, nothing beats the speed of throwing! 

There is a challenge in both that I find compelling, even though they can be frustrating at times!

What originally drew you to slipware, and how have you adapted the medium to make it distinctly your own?

Our first project at Clay College was terracotta and it really stuck with me. I love the warmth of the clay and immediacy of working with wet slip. My approach is quite slap dash and I’m not a perfectionist so I think it suits me. I’m also fascinated by its history, often tied to places where certain clays can be found, and how those traditions are being referenced and reinvigorated by contemporary potters. I do incorporate some traditional techniques and motifs in my work, such as slip trailing, but try to abstract them, and I use a broader palette of colours than trad slipware.

Your work is quite intricate—full of pattern, colour, and detail. What does your process look like? Do you plan everything out in detail beforehand, or is it more fluid and spontaneous?

Most of my work is made from printing onto plaster moulds which I have cast from lots of different textures. I roll out slabs of terracotta which I paint with slip, then I paint the mould and print by pressing the slab onto it. The slips adhere to each other and pick up the texture of the mould. As with much in ceramics, the timing is key. The clay, slips and mould must be the right consistency to get a good impression, so I spend a bit of time planning what colours I’m going to use, making paper stencils and what forms I will make with the slabs. The process itself is quite serendipitous – sometimes part of the print won’t transfer or layers of slip from previous prints will build up – it’s these aspects that are often the most interesting. It’s always a thrill to lift the slab from the mould and see how the print has come out!

Turning these slabs into forms feels a bit more spontaneous, especially objects like the basket bowls – then I can respond to what the object wants by adding embellishments to bring the piece together.

Spending two years at Clay College exposed you to a vast range of techniques, tutors, and local heritage. What was your biggest takeaway from that experience that you likely wouldn't have discovered elsewhere?

It was such a transformational time! Living in Stoke was unique for being absorbed in and learning about the history of the pottery industry. Visiting both functioning and former pot banks and having access to the Potteries museum and its collection were incredibly formative. Our tutor Kevin had worked in industry a lot, and understanding the links between this and studio pottery is something I still consider a lot. After graduating I did a residency in the Staffs uni plaster shop with technician Fin who had worked in the slip-casting industry most of his career. I learnt so much in that short time with him. That’s the amazing thing about Stoke, I don’t think you would have access to that kind of knowledge anywhere else.

Are there other mediums you’re curious to explore, or do you see yourself sticking exclusively with clay for the foreseeable future?

I really enjoyed printmaking at art school and would love to have more opportunity to do this. I recently did some screen printing with my friend Jessie de Salis and it was so fun – it’s such an immediate process!

You’ve had a busy year, including a recent exhibition in Korea—what was that experience like? You were also recently in Michigan; what did you take away from your time there?

It’s been a bit of a mad year! I was invited to Korea to have an exhibition at a little gallery called Pokettales which was such an amazing experience. I got to take the work to Seoul myself, and the care the curator put into preparing the exhibition was incredibly generous. 

I also received a Churchill Fellowship to spend two months in the US researching mobile kilns and community ceramics. For the first couple of weeks I was artist in residence at Ceramics School in Detroit during the NCECA conference. This studio is such a beautiful and radical space – I took away a strong sense of community, collaboration and play.

Do you find the mindset around ceramics in places like Korea and the US to be quite similar to the UK, or noticeably different?

The respect for ceramics in Korea was noticeably different than the UK, pottery felt elevated to an art which was pretty cool to see. The US was amazing – the ceramics scene felt so inclusive and supportive, and the diversity of what people were making was remarkable. There is space for everyone, a real can-do attitude of making stuff happen and a scrappy culture which I loved.

You’ve just taken on a new space in Glasgow and are currently setting up your studio. Tell us a bit about your new home!

It’s a shopfront in the Southside of Glasgow which used to be the home of picture framers Rabbet – who have moved to a bigger space around the corner. Since moving back to Glasgow after finishing Clay College I’ve been working from Glasgow Ceramics Studio, where I was an intern and then sublet a space. It feels so exciting to have the opportunity to take on my own permanent space, which will be my studio, a space to run workshops and have a little display at the front to sell from. There are loads of independent businesses in that part of Glasgow and I’m thrilled to be joining them!

Like many graduates, what were you perhaps unprepared for after leaving Clay College? What has been a highlight since stepping out to make a living from pottery, and what has been your greatest challenge?

I feel I have been incredibly lucky since leaving Clay College two years ago, being able to travel to South Korea and the US were definite highlights. 

My greatest challenge is having enough cash flow and getting work-life balance right!

Next time we’re in Glasgow, what are a few of your favorite spots that we should definitely check out?

Pollok Park and the Burrell Collection are lovely for a stroll and to see some amazing artefacts! There are so many good spots for food - I love going to Deanston Bakery for a coffee and a pastry, Sunny Acre for lunch and Qasba for dinner. My favourite pubs are The Lauriston and The Rose Reilly.

Where do you usually find inspiration, and what tends to trigger growth or evolution in your work?

Travel and working with others really inspires me, I’ve been lucky to work alongside some fantastic potters. Whilst in the US I spent a week with Lisa Orr in her studio – she is an incredible earthenware potter fizzing with energy and ideas. I left feeling so inspired and eager to get making. Time away from my own studio and with others always leads to growth and a renewed sense of purpose.

What are your thoughts on the current direction of pottery in the UK—particularly the resurgence of young makers, teaching studios, and ceramics fairs?

I think it’s great, I’ve seen how therapeutic clay work can be, especially in today’s tech driven society. More people should have access to making with their hands, and ceramics fairs hopefully give the public a better appreciation of pottery too!

What is the most recent piece of pottery you bought for yourself? Who made it, and where did you find it?

I bought a spoon rest from my pal Tom Carne at Glasgow Ceramics Market in July.

Who is a maker you admire that more people should know about, but might not have heard of yet?

In the UK – Pascal Nichols!

In the US – Henry Crissman!

I’m a big fan of both their ceramics. 

What are you excited to explore next in your practice?

I can’t wait to be in my new space and have time to experiment! The past year has been incredible but I feel as though I’ve been running to catch up. I can’t wait to hopefully have time to try new ideas, test different coloured slips and play. 

A friend who is an art therapist and I are also hoping to set up some workshops together – I’m excited about what I can learn from her and where this will lead. 

What’s the ultimate dream for your work and studio?

I would love to have more opportunities to travel through exhibitions and working with others. My ultimate dream is to have a big studio in the countryside with space to run workshops and host guests, alongside a veg garden, chickens and cats!