2025 AWARD WINNER | Loughborough School of the Arts, English & Drama

REBECCA MATTHEWS Loughborough University | BA(Hons) Fine Art

Recipient of the Potclays Graduate Award in 2025 as part of our Educlaytion programme

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Please tell us about yourself, your work, and your career path so far.
Hi, I’m Rebecca! I’m from Leicestershire and have just finished my Fine Art degree at Loughborough University. My work explores the overwhelming flux experienced during moments of inner turmoil, highlighting a sense of instability and tension. I use fragile, suspended forms to reflect the ongoing anxiety and uncertainty that characterises everyday life. I work with a combination of clays and processes, including slip casting and press moulding.

I have worked with several artists while completing my degree and my year in industry. I interned with Juz Kitson in Australia, worked with Ben Fosker in his Ibstock studio, taught beginner throwing classes at Katherine Staples Clay Studio in Wymondham, and most recently took on slip casting and glazing at Greenman Ceramics in Staunton Harold.

Describe your first encounter with clay?
I first worked with clay in my first year of university through throwing on the wheel and then took an interest in other ceramic processes.

Why did you choose ceramics?
My interest in ceramics sparks from the possibilities it offers. Each type of clay is different. It has its own character and responds in its own way. I like that it’s a bit unpredictable and hands-on, and I enjoy exploring all these qualities to see where they take me in my work.

Where do you find inspiration? Places, people, objects, music…
I take inspiration from conceptual theorists like Deleuze and Sartre. I’m interested in Deleuze’s ideas about ‘selfhood,’ which are influenced by Sartre’s view of consciousness and how our thoughts—especially difficult ones—are always connected. Through the choices we make, possibilities turn into probabilities, where the ‘what if’ blends with the ‘what is.’ These ideas shape how I approach creativity and self-reflection, helping me explore themes of change and anxiety in my work.

What are the tools of your trade that you can't do without?
My first key tool is a rubber kidney. It is perfect for smoothing and shaping my clay when I’m press moulding. I also use a scalpel blade a lot. It is really useful for fettling my slip-cast pieces and cleaning up any seams or rough edges. These simple tools make a huge difference in helping me get the finish I want in my work.

What is a typical day in the studio like?
So it usually starts in the ceramics workshop, unwrapping anything that I made or cast the day before. I’ll then decide which pieces need to be worked on that day. I usually spend some time looking back at previous work, reading texts, and going over drawings. I also like to take a step back and let the work reflect, allowing me to think things over and find a fresh direction.

What do the next 12 months have in store for you?
Over the next 12 months, I plan to secure my own studio space to fully focus on developing my practice. I’m also keen to collaborate with other artists through freelance projects, explore new materials, and expand my making process. I will continue applying for more exhibitions and creative opportunities.

What advice do you have for those currently studying ceramics in further education?
My advice for anyone studying ceramics is to stay curious and keep experimenting. Don’t be afraid to try new techniques or try working with new materials, even taking fired pieces and turning them into something new. Keep at it, and if things are not working right now, just give it time.