A one-off hand made piece by British ceramicist Karen Thompson.
Earthenware with various glazes.
Art pieces, for display purposes.
STORY:
A new collection of lidded earthenware jars by renowned ceramicist Karen Thompson.
These hand-thrown and hand-built pieces are glazed in different colours and patterns to reference early Staffordshire ceramic animals from the 18th century.
(Above: example of a Staffordshire bear from 1750)
Stylised boars, lions and tigers growl and bare their teeth and tongues in these incredible new works, exclusively made for The Shop Floor Project.
Like jars from an eccentric 18th century apothecary, the lids, with their incredibly modelled heads, sit on top whilst four feet, paws or hooves keep them firmly grounded.
Each piece is completely unique. Some might have fur that is painstakingly hand-painted, whilst others are covered in a sponged pattern. Some pieces, such as the boars, are blanketed in a raised fur texture which is created by making a coat of granules of white grog stoneware which is carefully applied all over the surface before glazing.
Karen Thompson is a contemporary ceramicist whose work draws on historic and modern influences to blend themes of satire and humour with social commentary. Her ceramics feature in notable public and private collections, including the Crafts Council, the Arts Council and the prestigious Centre for Ceramic Art at the York Art Gallery.
Thompson began her formal ceramics education at Kensington & Chelsea College in 2004 before earning a BA (Hons) in ceramics from Bath Spa University in 2008.
Her pieces draw inspiration from wide-ranging sources, merging traditional techniques with contemporary cultural critiques to create artworks that challenge perceptions.
Exhibiting across the UK, Thompson has shown pieces at venues including The Holburne Museum in Bath, Siobhan Davies Studios, and Berwick Visual Arts. Now based in Scarborough, on the North Yorkshire coast, Thompson continues to develop her distinctive artistic voice, creating ceramic works that resonate with humour and critical reflection on contemporary issues. Her practice remains a dynamic exploration of how ceramics can be a powerful medium for both storytelling and social critique.
