Uploaded March 2026 | Updated September 2026, 2 weeks ago
Collier’s interest in pottery began at college, where he became absorbed by throwing on the wheel and by studying pots from different cultures and periods. Visiting workshops and learning from other makers, including Mike Dodd, Clive Bowen and Svend Bayer, confirmed his desire to pursue the craft, drawn by the sense of continuity within a long and shared tradition. goldmarkart.com/collections/charlie-collier
After college, he became an apprentice at Whichford Pottery in the Cotswolds, where years of hands-on training gave him a strong technical foundation and the confidence to develop his own designs. Alongside this, he set up a home studio, exploring reduction-fired stoneware and later becoming involved in wood-firing projects, including long anagama firings that shaped his understanding of kiln building and surface.
Collier makes pots for use, believing that well-made, beautiful objects naturally belong in everyday life. He sees no real distinction between art and function, valuing form above all else and allowing materials and process to guide the outcome. Informed by tradition but not bound by it, his work aims for clarity, honesty and vitality — qualities that allow each pot to carry something of the maker’s character while remaining open to the user.
Collier’s interest in pottery began at college, where he became absorbed by throwing on the wheel and by studying pots from different cultures and periods. Visiting workshops and learning from other makers, including Mike Dodd, Clive Bowen and Svend Bayer, confirmed his desire to pursue the craft, drawn by the sense of continuity within a long and shared tradition. goldmarkart.com/collections/charlie-collier
After college, he became an apprentice at Whichford Pottery in the Cotswolds, where years of hands-on training gave him a strong technical foundation and the confidence to develop his own designs. Alongside this, he set up a home studio, exploring reduction-fired stoneware and later becoming involved in wood-firing projects, including long anagama firings that shaped his understanding of kiln building and surface.
Collier makes pots for use, believing that well-made, beautiful objects naturally belong in everyday life. He sees no real distinction between art and function, valuing form above all else and allowing materials and process to guide the outcome. Informed by tradition but not bound by it, his work aims for clarity, honesty and vitality — qualities that allow each pot to carry something of the maker’s character while remaining open to the user.
