Fiona Thompson
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The non-functional vessel is my main focus; I usually work in a series. Work in recent years has explored travel narratives, the souvenir and the photograph. Other series explore themes of authenticity, display and collection within the natural history collection and wider museum collections.
Recent work (2025-26) was inspired by a trip to Portugal. Sometimes the new catalyst for artwork is unexpected. In the case of this project, the form I’ve focused on is a flattened vase, loosely referencing an ornate commemorative alterpiece vase seen in a museum in Braga, Portugal. My version is not similar visually but its more reflecting the idea of a commemorative vase. A vessel associated with commemoration, ornament, a special object, and a vehicle for narrative that can take a variety of forms. These vases are a form of personal souvenir. They reflect how we visually consume everything, what we choose to see and not see. Minute details are important, as well as the broader view.
The pieces are handbuilt, and then the first layer of imagery is created by stencilled slips, the stencils being based on the images I took around Porto, mainly buildings. Sprigged additions are a reference to the ornament seen on many buildings and religious spaces. There was a great deal of rich multi layered surfaces, from the ornate and highly patterned churches and other religious spaces, and street art and graffiti over every surface. Tiled surfaces, patterned buildings, as well as the intense feel of busy spaces.The photographic decals reflect how we see on holiday, hopping from one sight to another, consuming fragments, snippets and multiple layers. It also makes you think about what is deemed ‘photogenic’, and what is not.
The work is handbuilt in stoneware clay. Imagery is built up in layers through slips, underglazes, oxides and glazes. Images and text are often monoprinted, sometimes linoprinted or screenprinted. Photographic transfers (decals) are often applied, with lustres on selected pieces.
Lived Experience
I graduated from Edinburgh College of Art in 1994, and completed an M.Phil (post graduate research degree) at the University of Sunderland in 2010. I have exhibited widely in the UK and further afield, with work available through various quality galleries. I am a professional member of the Craft Potters Association. Residencies have been a part of my practice, and I've undertaken numerous commissions. Teaching experience includes at universities and colleges, community arts work and adult education. I have had a couple of articles published in ceramic and tourism journals, and have co-authored a chapter in 'Travel, Tourism and Art' published 2013. In 2012 I set up a social enterprise ceramic studio and teaching facility in Edinburgh with partner Chris Donnelly- Cyan Clayworks. We offer courses, specialist workshops, a membership and have a space to exhibit/sell our work.
Although my focus is ceramics, I work a lot on paper- lino prints, monoprints, collages and photography. This feeds into and informs my exhibited pieces. I have started publishing short articles on Substack.
