Eilidh Hunter

Eilidh holds a Fine Art degree from Duncan of Jordanstone and has spent the past seven years making predominantly wheel-thrown functional ceramics. Alongside her ceramics practice, she works as an interior designer for a Danish furniture company. In 2022, she completed a six-month internship at Glasgow Ceramics Studio, where she now teaches beginners how to throw on the wheel. During her internship, Eilidh could mostly be found in the glaze room developing new glaze tests and enjoyed researching sustainability in ceramics as part of her long project.

Her ceramics are inspired by the clean lines and minimalism of Scandinavian design, blended with the Japanese philosophy of Wabi Sabi. She works with a subdued palette of glazes to enhance the natural beauty of the clay, using subtle brushstrokes of slip and iron oxide to add character and variation to each piece. With a background in design, she has a keen eye for detail, taking care to consider both form and function.

The objects she creates are meant to be used and loved, becoming part of the rituals of daily life. Her practice reflects a personal desire for calm and connection, and through her ceramics, she invites others to slow down and appreciate the beauty in simplicity.

Eilidhs Dino’s Order – My Dino’s order is so boring! But I was partial to a wee tuna, salad wrap.

Joanne Dawson

Bio

Joanne Dawson, originally from South Yorkshire and now based in Glasgow, works across tile, mosaic and architectural ceramics. Her work investigates how design enhances our experience of the built environment through strategic use of decorative arts, pattern and ornamentation. Joanne’s work possesses a duality of form and function, sitting within a lineage of making that is informed by historic craft practices and vernacular building construction. By combining the historically separate roles of artist, maker, and installer, she creates accessible, integrated works. Using traditional techniques like slip casting, mosaic, and tile making, Joanne develops a visual language of symbols and organic, colourful motifs drawn from the public realm.

What was your highlight of the internship?

During my internship, I worked with full-time member Sian Patterson, on a research project around wood ash glazes. We conducted 36 recipes, on 5 clay bodies we regularly use, in 2 different types of kiln firings – electric and gas reduction. This later informed the work I produced towards the end of my internship, including porcelain slip-cast light pendants and fireplace tiles from the dwelling the ash came from.

The internship for me was a great opportunity to learn about kiln usage, particularly getting well acquainted with the smaller gas kiln, Marta, which has become a skill I now rely on within my practice. Needless to say, another highlght was meeting all the talented ceramicists, potters, and artists based in the studio, including Ruth Martin, Susie O’Byrne, Ciara Neufeldt, Jonathan Wade (Ingot Objects), Cath Mesgrave (Cathpots), fellow interns Jihyun Kim and Crunch, Katie Johnston (Manifesto), Josie Ko, amongst many many more, as well as our yearly mid-career international resident Kendra Yee who I shared the mezzanine level with. These colleagues and friendships have led onto collaborations and other opportunites I couldnt forsee at the beginning of the internship – such as participating in the 2025 COMPASS Program with fellow full-time member Katie Dixon, or collaborating on a project with Ciara Neufeldt on her V&A residency.

Did you gain any new specific skills during your internship that have gone on to inform your practice now?

So many skills but to name a few: slipcasting, tilemaking, knitting (thanks Alison!), glaze making and different applications, creating plaster casts on the whirler, the technical info of clay and many more.

Joanne’s Dino’s Order –

Tuna melt toastie and spicy lentil soup (though the mac and cheese toasty is saved for an annual treat!)

Jihyun Kim

Jihyun Kim, a ceramic designer from South Korea, melds tradition with enchantment in her craft. Holding a Master of Arts in Ceramics and Glass from the Royal College of Art, her work is internationally recognized and showcased at esteemed events like Milan Design Week and the British Ceramic Biennale.

-What was your highlight of the internship?

Joining Glasgow Ceramic Studio after completing my Master’s at the Royal College of Art was unforgettable. Having just moved to London for MA, I was initially nervous to move to Glasgow alone. But the studio community was incredibly welcoming, members treated me like family, offering guidance, sharing techniques, and friendly conversation. Their warmth and support became the highlight of my internship, making Glasgow feel like home. Even two years later, I still tell people that the most inspiring aspect of my time there was the kindness of the people.

-Is there a specific project/projects you assisted on during your time as an intern?
I did a glaze-testing project because there were many unknown or unused glazes in the storage space. I took them out, tested each one, and archived the results so that open-access members could use them.

-Did you gain any new specific skills during your internship that have gone on to inform your practice now?

I developed my gloop glaze and structural firing techniques through a number of experiments and firings. I encountered many failures, but studio members offered advice and tips that I still use in my practice today. I also learned and practiced lathe turning, which helped me create successful plaster models. Additionally, Susie taught me how to pack delicate and intricate ceramics, so I can now ship my work with a low breakage rate.

Jihyuns Dino’s Order –

Oh my god of course Curry Crispy Chicken with chips…..Guilty pleasure. I got so sleepy after that hahaha

Charlott Rodgers

I am a Glasgow-based glass and ceramic artist working from my studio at Glasgow Ceramics
Studio within the WASPS complex. My practice combines kiln-formed foam glass with fine
porcelain, merging traditional craft with contemporary experimentation.
Foam glass—a porous material formed by trapping air during kiln casting—has a matte,
tactile surface I contrast with smooth, slip-cast porcelain forms in Parian and Bone China.
These materials are fused in their hot state, creating bold, textural contrasts and unexpected
interactions.
I favour geometric forms and a refined palette, recently exploring deep cobalt blues with
bright whites. My work invites close inspection and physical engagement, balancing
simplicity with material complexity.
I hold an MFA in Glass (with distinction) from Edinburgh College of Art and am currently
pursuing a PhD exploring subversion in making. A recent residency at the Corning Museum
of Glass led to the development of a new method for embedding imagery into foam glass.

Is there a specific project/projects you assisted on during your time as an intern?

I was heavily involved in setting up the physical space for the GCS’s Open Access program as well as getting everything ready to welcome our first Open Access members. If you come to room two and happen to admire both the floor downstairs and on the mezzanine that you are looking at my handywork.

Did you gain any new specific skills during your internship that have gone on to inform your practice now?

I developed my mould making and slip casting skills further which has definitely informed my practice as I am mainly slip cast and combine it with my glass practice. A lot of my time was spent on developing my throwing skills as well.

What is your dino’s order?

I am very boring and like a good old cheese and tomato toastie on brown bread with a bit of cracked black pepper.