Pierre Williams

Pierre Williams was born in 1962. He studied ceramics as a mature student, at University of Wales in Cardiff (UWIC), graduating in 2001.

'Most of my work is thrown on the potters wheel where I try to produce forms that will be vehicles for decoration. These may be very simple, or more complex pieces which may be altered and have hand-built or press-moulded additions. Other techniques that I use to decorate at the raw stage are sprigging and rouletting.'

"This new body of work has been inspired by many recent visits to Hereford Cathedral, which I have been rediscovering. The skills of the craftsmen who created this work of art, which are also being matched in the restoration work, is something I try to replicate in my own work, all be it on a smaller scale. I can be influenced by one stone in the building, a group of arches or the patterned ceramic floor tiles and this may manifest itself in a three dimensional form or surface decoration."

"The figures have also been developed by looking back in time to classical sculpture and the work of Rodin as well as the contemporary work of Anthony Gormely. The environments Gormely set his figures in have been a catalyst for the juxtaposed figure to the architectural form. I like to play with how the human body may interact with different forms in everyday poses or performing contemporary functions."

"The complex surface decoration which may require up to five firings has been developing over the last five years, by looking at contemporary painters, ceramic and textile surface patterns and the work I have carried out with students with learning difficulties. I also tap into the blue and white tin glaze tradition of earthenware ceramics, with my top firing temperature being 1120 degrees. I will use slips, oxides, under glazes, glazes, enamels and lustre’s to achieve the desired effect. With this type of finish I am trying to recreate the same qualities as the antique collections in museums that I have looked a t many times where there is not one particular piece I am drawn to, but the shine, colour and feel of the whole display."


After developing the precious series, which resulted with the illusion of a ceramic glazed and decorated surface over a bright gold surface it made me think about more layers and different qualities of surface and what this could mean or represent.

If you think of old houses with wall paper stripped from the walls exposing different colours, patterns, fashions and styles from different periods it could give you a sense of history of the building and what and who may of past through. An old car could have layers of paint and rust as nature is reclaiming the manmade object.

Ceramics, for me has always been a bit of a Chameleon with regards to mimicking different materials, something I have always explored and now can add to my current work where the core of the surface decoration has been the glazed and decorated surface inspired by the antique collections in many museums. This new development can encompass all the surfaces I have explored from elemental qualities such as rust and stone to unglazed and glazed and decorated, giving a sense of different values, styles and history with the viewer deciding what the story of the piece may be.