Europe’s premier ceramics fair, Ceramic Art London, returns to Olympia in West London following on from the success of 2023 when the fair outgrew its previous venue and moved to Olympia in its 20th year. Running over three days from Friday, May 9th to Sunday, May 11th, 2025, it will showcase 120 makers from around the world. Tickets cost £20.
Makers come from all over Europe and as far afield as Canada and Korea. Even those now based in the UK often take inspiration from distant cultures or their original homeland from such varied destinations as Tokyo to Norway.
The much-celebrated talks programme is free with entry, and this year will feature themed days, curated by leading ceramic experts.
Organised by the Craft Potters Association of Great Britain, Ceramic Art London has evolved into an unparalleled platform for ceramic art, welcoming around 6,000 visitors from over 30 countries each year. This remarkable event thrives on the exceptional talent of its 120+ exhibitors, from all over the UK and abroad. Unlike traditional gallery showcases, Ceramic Art London places the spotlight directly on the makers, creating a vibrant celebration of global craftsmanship and creativity.
From functional works that elevate the everyday, to striking decorative pieces and abstract creations that challenge the imagination, Ceramic Art London offers something for everyone.
Among those showing their work are the following makers:
Ain Choi
The shape of the wave is created using clay, a material aggregated into particles. The amplitude and period, which are the properties of waves, can be examined through the wave line expressed in formulas and coordinates. Ain Choi creates a structure made up of wavy lines and exposes the clay particles completely on the surface. Through this, we seek to interpret and visualise physical concepts through art, and examine the essence of existence by looking into particles and waves encompassing matter.
Soyeon Gim
Seoul-based ceramic artist Soyeon Gim explores the potential of materials with a personal and figurative language. Primarily utilizing the wheel-throwing pottery techniques, the artist creates succinct forms and maximizes visual expression through in-depth exploration of materials and surfaces, particularly with glazes. Her works prioritize the experiential essence conveyed by the inherent qualities of objects, such as form, weight, and texture, than the rather practical considerations.
The artist utilizes the natural texture and color of clay and glaze in her work. This series stems from a deliberate exploration of embracing while intentionally deviating from the inherent symmetry in pottery making. Using a blend of wheel-throwing and hand carving techniques, the artist crafts diverse units, assembling them to create aesthetically intriguing shapes. The resulting contrast between the glaze’s texture and the clay’s color enhances the visual delight of the overall composition.
Jaeeun Kim
Jaeeun Kim’s ceramic vases tell the story of her journey back home, inspired by a drawing method used in art therapy called House-Tree-Person (HTP). Each vase has its own story, connecting past memories to the idea of home. Made from porcelain, each piece includes handmade ceramic designs and colours Jaeeun crafted herself. Using the HTP drawing approach, Jaeeun expresses a personal path of healing and self-discovery, bringing these memories to life in each vase.
Jin Eui Kim
Jin Eui Kim’s work explores how form, shade, and texture in ceramic art can be manipulated to transform visual perception. Using tonal bands and clay block arrangements, Jin Eui creates spatial illusions that blur the line between reality and appearance. By selectively omitting or altering surface details, Jin Eui invites viewers to experience shifting perceptions, allowing them to toggle between the real and the illusory. When observed under specific conditions – half-closed eyes, dim light, or from a distance – the illusions become more vivid. This interaction creates an immersive journey, challenging viewers to question their own perception and the boundaries of reality.
Sun Kim
Sun Kim is a Korean ceramicist raised in Brazil. She received her first BA in Fine Arts and continued ceramics studies in United States where she got her second BA from Alfred University. She moved to the UK in 2004 to start a studio assistantship with Edmund de Waal. Her own practice is based in South London since 2007.
Sun Kim explores traditional and contemporary aesthetics within her work, producing a range of functional ware with a distinct visual language. The making process is a continual challenge, an investigation into form, shape and volume.
Sung Jin Kim
Sung Jin is an artist with a background in ceramics and design, creating new works that blend everyday observations with personal artistry. His collection, Lines, is a wall installation series inspired by the London Underground, mixing elements of the underground and underground art to capture the free-spirited, spontaneous feel of graffiti through ceramic pieces. Each ceramic piece holds its own unique meaning and can be freely connected, allowing for reconfigurations that vary the work’s atmosphere and form.
Hajeong Rogers
Currently focusing her making predominantly on functional ware, Hajeong Rogers fuses traditional Korean Buncheong techniques, using inlaid white slip and a dark clay, with patterns influenced by William Morris. Hajeong is trying to find a harmony between Korean tradition and the West. She also loves the idea of her pots being used every day unlike a sculpture she made in the past, which is entirely decorative or made to convey a message. She feels that by using her pots they become a familiar and comforting feature of a person’s life.
Saeri Seo
Saeri’s work merges personal narrative with social and cultural influences, visually reflecting her journey. Central to her art is the exploration of “good child syndrome,” shaped by Korean cultural background, which profoundly impacted her life. In response, Saeri deconstructs and reimagines traditional Korean ceramics, symbolising liberation from past constraints. Her work captures themes of personal growth, self-discovery, and healing, fostering introspection and dialogue. Contrasting with the fragmented pottery, the iris flower—symbolising hope—emerges as a testament to resilience and beauty born from transformation.
In Ho Song
My work expresses imaginary animals.
First, I mould rough shapes of various animals using handbuilding techniques.
And then, I draw imaginary animals on them, just like drawing on a canvas.
This work’s motif is a Korean traditional funerary figure, kkokdu.
Kkokdu is a witty human-shaped wooden figure, which is known as to take a role in sharing the happiness with the passed ones and relieving their sorrows, coming and going between this world and the next world.
I reconstituted the kkokdu with imaginary animals instead of human characters.