Brading, Isle of Wight
Jacqueline Lamb
Hand-built ceramics from a small home studio: figures, wall pieces, and vessels shaped by the coastline, colour, and texture of the island. Everything is made slowly, by hand, and meant to be handled.
Selected work
Gallery
A mix of figurative sculpture, wall work, and vessels. Every piece is one of a kind, so availability changes often — get in touch for current work or to see the shelves in person.
Women of the Solent
Three figures in patterned dresses, grouped together.
Island folklore
A small green dragon with thick glaze pooling between the scales.
Incised vessel
A round-bellied pot scratched back through white slip in a lattice of lines.
Wall plate
A shallow round dish painted with a coastal scene.
Señora series
A dancing figure with a flared, painted skirt, caught mid-turn.
Speckled hen
A hen built up in mottled browns with a rough, stone-like surface.
Meadow panel
A slab panel painted with caterpillars and butterflies.
Painted mask
A heart-shaped face in bright colours over a dark ground.
Wall pocket
A hanging basket crowded with pressed flowers.
Coastal talisman
A long crocodile textured with carved marks along its back.
Leaf relief
Two leaves laid over a painted face, speckled with blue.
Front of lizard
Front of lizard
About the process
Made slowly, kept irregular
I work from a small studio in Brading, translating sketches and shoreline collections into clay. Years of illustrating and teaching art came before the pottery, and the confident mark-making still runs through everything: carving, pressing, colour washes, and the occasional line of stitching pressed into a wet surface.
Nothing here is thrown quickly. Pieces are pinched, coiled, and slab-built so the surface can record where hands have been. Slip is layered like paint, sanded back to reveal earlier marks, then layered again. Clay that feels like worn stone, slip that borrows from the chalk cliffs, glazes that echo the hazy light on a coastal morning.
The result is meant to be handled, lived with, and added to over time — irregularities kept rather than corrected.
- Building Pinched, coiled, and slab-built, with time left to carve and press in found shells and sea glass.
- Surface Slips, pigments, and underglazes layered, then sanded back so earlier marks show through.
- Firing Bisque-fired, glazed, and fired again in small batches.
- Teaching One-to-one sessions and small workshops, first Saturday of each month.
Contact & info
Get in touch
Studio visits, commissions, and workshops are arranged directly. Send a note with a sketch, a photo, or a rough idea — I reply to every message within two working days.