Taking stock
September seems like a good time to take stock. Since launching Arra Ceramics earlier this year, a lot has changed — both in the work I’m making and in the business we’re building around it. In the studio, I’ve been able to develop and complete the new forms that had been sitting with me for a couple of years: the Melrose jug from 2025 is not the Melrose jug we ended up with in 2026; the Arca range, with a tiny nod to my childhood hero, Neil Armstrong, made its debut and proved popular at in-person events this summer. And while I’ve focused on developing the work in the studio, Barbara has been building the other side of Arra Ceramics — getting the work out into the world and finding opportunities to show it.
Taking the work into the world
Bringing my work to a range of summer events in galleries and museums across Scotland was a big test for me and for the business. All of them generated really interesting insights into how my work ‘sits’ with people. Having people pick up my pieces, ask questions and have conversations about the work, and then buy some was so valuable both in terms of making connections and understanding people’s responses. People bought my work as gifts for others, commented on how different it looks from what they think ‘ceramics’ is, fell in love with Melrose jugs and bought Arca cups and mugs. We learned a lot – like how the Jura ‘dented’ jug needn’t be defined by whisky alone but can find all sorts of uses depending on who takes it home.
Arra Ceramics at Tea Green, National Galleries: Portrait, August 2026.
Back in the studio
One thing the summer events gave me was confidence that I’m heading in the right direction. A customer who bought a Trivium for his mum told me, “this stuff is so unique — keep doing what you’re doing.” That was a real boost. Lots of people also picked pieces up and were surprised that they were ceramics at all, either because of the bronze glaze or because they were much lighter than they expected.
Raw Melrose forms in the studio
Back in the studio, the challenge is now to keep developing the work while finding better ways to make it. I’ve been working on a new 3D master-making process that could remove the need for expensive silicone and rubber stages, reduce costs and shorten the journey from a design on paper to the finished piece.
There are still plenty of technical problems to solve. I’m now testing powdered stoneware made specifically for slip-casting after a fair bit of wrestling with different clays, glazes and firing temperatures. And the next big test is the new master mould for the Labrys lamp, designed so that four separate pieces can be made from a single master.
Two parts of the Trivium mould
Never thought I’d say this, but I may turn out to be too clever for my own good ;-)
Looking ahead
After a busy summer, I’m looking forward to a quieter stretch in the studio: making stock, developing new pieces and getting work ready for events in November and beyond.
Later in the year, some of my work will also be heading into a different kind of setting. I’m very pleased to have work selected for Press & Kiln, an exhibition bringing ceramics and printmaking together, at Bellshill Cultural Centre from 1st December until March 2027.
Wishing everyone a really good autumn and I hope to see you either online or in person.
Arra