Andrew Richards
I began my journey at Wrexham College of Art and Design, studying under the guidance of David Binns and Willie Carter while pursuing a National Diploma. I later continued my education at Chesterfield College, learning from Geoff Fuller, Chris Yenson, Trevor Nicklen, and several visiting lecturers, including Janet Leach, Patrick Seargent, and Takashi Yasuda.
After completing my training, I moved to Edinburgh, Scotland, where I established Wisp Farmhouse Pottery. During this time, I focused on production throwing, working with a tonne of clay every 4-6 days at peak production. My work centred on the purity and artistry of wood firing.
My pottery has been showcased extensively in galleries across the UK and internationally, including Primavera Cambridge, the Oxford Ceramics Gallery, Bevere Gallery, and others. My pieces are featured in prominent collections, such as the Rothschild private collection.
Eventually, I relocated to Kettering and settled in the picturesque village of Grafton Underwood, famously featured in the Bridget Jones films. There, I established Mill Farm Pottery, setting up a workshop within a charming stable yard complex. At Mill Farm Pottery, I created a range of tin-glazed utilitarian wares, earthenware plant pots, and garden pieces, refining my production throwing skills further.
Thanks to my advanced skill level, I was accepted directly into the second year of a three-year Ceramics degree program at UWIC in Cardiff. Under the expert tutelage of Geoff Swindell, Peter Starkey, Graham Williamson, and visiting lecturer Emanuel Cooper, I earned a 2:1 degree in Ceramics. I also completed a PGCE in Art & Design, further expanding my teaching expertise.
One of the most rewarding projects I have worked on was a collaboration with Martin Lungley in Albania. Together, we set up a self-sustaining pottery workshop with local residents. Over the course of 14 days, we built the workshop from scratch—sourcing clay, constructing wheels and equipment, and building a wood-fired trolley kiln. We also trained four individuals, using plaster molds to produce large-scale garden wares.
Over the years, I’ve built numerous kilns and experimented with various firing techniques, including wood firing, salt glazing, and oil firing. These experiences have profoundly shaped my approach to pottery, instilling in me an enduring appreciation for honest, experimental craftsmanship.
My work is a reflection of my deep love for nature and the energy that flows through the cycles of life. This passion comes alive in every piece I create, embodying the spirit of the natural world in my pottery.
I approach the creation of my vessels with a dynamic energy and a sense of spontaneity, focusing on crafting the form and perfecting its surfaces throughout both the making and drying stages. Through the application of slips and oxides, I transform each surface, using layered materials to emphasize the plasticity and tactile essence of the clay, evoking the spirit and texture of natural landscapes.
My work challenges the boundaries of traditional pottery, reimagining clay as a medium for abstract sculptural art. Whether I begin with wheel-thrown or hand-built forms, I utilize the potter's wheel to shape and meticulously refine the outer surface of each creation.
While I often start with a vision for a vessel's final form, its true character is revealed through careful, intuitive manipulation. By incorporating clastic sedimentary stones and oxides, I create textures and patterns inspired by the rugged beauty of the Welsh landscape and coastline, which serve as the foundation for my Earth series.
The use of 200-million-year-old clastic sedimentary stones, beach quartz, granite, brushed and layered Anglesey copper, and hand-applied glazes infuses each piece with distinctive colors and textures. Every layer is thoughtfully applied to harmonize with the vessel, ensuring that no two pieces are alike—each is a unique, one-of-a-kind work of art.
Nature is my constant source of inspiration. I collect rocks, sedimentary stones, oxides, and fossils from across the UK, incorporating these elements into my evolving body of work. These collected materials allow me to craft pottery sculptures that are deeply rooted in the landscapes of Britain, Scotland, and Wales, celebrating their timeless beauty and history.