Charlie Todman East Sussex, United Kingdom

• 
• 
• 

  Back to profiles Invite to apply

As a former Maths teacher and with little in the way of formal education in ceramics, in essence, my creative practice is a continuous exploration of the unknown, with each outcome becoming a stepping stone towards a more profound understanding of the medium. I enjoy the flexibility afforded by working intuitively with clay, as this allows me the freedom to try anything that comes to mind.

My current body of work centres on the casting of paper-thin, translucent forms using porcelain slip. It’s a slow and delicate process that constantly challenges me to refine my approach. Working with porcelain in this way comes with high risk—cracks, warping, or collapse are common—but I’ve come to see these moments not as failures, but as part of the process. Each attempt teaches me something new about the material, pushing my understanding a little further.

Despite having little formal training in ceramics, I’ve found freedom in working intuitively. Without rigid expectations, I’m free to explore, test boundaries, and follow ideas wherever they lead. This openness to experimentation, paired with the unpredictability of alternative firing techniques like saggar firing, keeps the work exciting and full of discovery. Every kiln opening is a moment of surprise, where unexpected surface patterns and markings emerge—some subtle, others dramatic.

The presentation of each piece is equally important. I mount my vessels on plinths made from scavenged, recycled, or upcycled materials — usually offcuts or remnants from building sites. This approach reflects a core value in my practice: making use of what’s already around me. My home studio was built from discarded wooden pallets, and my kiln, somewhat unconventionally, was fashioned from a dog crate. Reclaiming waste materials isn’t just practical—it’s something I care deeply about. There’s a quiet satisfaction in giving overlooked objects a second life, and that same feeling carries through in the way I handle clay.

My studio, nestled in the garden, offers a peaceful contrast to the demanding and often unpredictable nature of working with porcelain. It’s a quiet, personal space where time slows down, giving me room to focus and reflect. The tension between this calm environment and the challenging nature of my materials creates a balance that drives my creativity forward.