About the author: Lottie specialises in modernism, feminist perspectives, and the boundary between fine art and craft. She co-founded Decorating Dissidence and published Radicals and Rogues in 2023. More about Lottie
Ceramics speak to us on a primal level. The ancient language of clay is entwined with the history of humanity. As Magdalene Odundo (b. 1950), one of the preeminent ceramicists of her generation, asks, ‘what else can tell you about human life more than a pot does?’ The alchemy that takes place when clay is transformed by fire creates art that will last thousands of years.
Today, the rich and varied field of ceramics continues to tell stories about who we are and the world we live in; ancient influences are still with us, but in the hands of contemporary artists such as Grayson Perry (b. 1960), Bouke de Vries (b. 1960), and Betty Woodman (1930 – 2018), ceramics are wildly innovative, experimental, and avant-garde.
Like other forms of art rooted in craft traditions, the field of ceramics is experiencing a well-overdue boom as the art world takes a fresh look at mediums that have, historically, been undervalued and underestimated. The global ceramics market was estimated at $118 billion in 2022 and is expected to grow to $218 billion by 2032. With the primary and secondary markets heating up, there has never been a more exciting time to immerse yourself in the ceramics market – whether you’re a seasoned collector looking to explore new horizons, or a new collector taking your first steps in the market.
An earth-shattering moment for the ceramics market came in 2018 when a stoneware vase by British studio potter Hans Coper (1920-1981) came up for auction. The vase’s understated abstract style and mottled, earthy surface gave it the appearance of a piece of ancient Aegaen pottery. However, this vessel was not unearthed from the soil, but rather taken from a cupboard in suburban England, where it had languished unloved for decades. The sale caused a stir in the press after the vase’s price soared to £381,000, placing it in league with Ming dynasty pottery. Collectors and curators who had been paying attention to ceramics knew that the market was about to explode.
A similar media frenzy surrounded the 2023 sale of an exquisite glazed porcelain bowl made by Coper’s mentor and close friend Lucie Rie (1902-1995). Footed Bowl (1981) sold for almost ten times its auction estimate at Bonhams Ceramics Masterpieces’ sale in Paris. This surprising result capped a year in which Rie’s reputation as one of the twentieth century’s most significant potters soared, thanks, in part, to a major retrospective at Kettle’s Yard in Cambridge, UK (Luce Rie: Adventures in Pottery, March-June 2023).
The work of both artists was also included in the sale of Dr John Driscoll’s seminal modern and contemporary ceramics collection in 2021, brought to the market by Phillips and Maak Contemporary Ceramics. The Driscoll collection included global makers such as Nigerian potter Ladi Kwali (1925-1984) and Japan’s Shōko Koike (b. 1943), alongside well-known leaders of British studio pottery: Rie, Coper, and Bernard Leach (1887-1979). By encompassing such rich, international diversity, the collection changed the cultural landscape and offered a vibrant history of modern ceramics.
Away from the British studio pottery movement, we’ve seen a similar pattern of record-breaking sales and frenzied interest in a broad range and styles of ceramics. Pablo Picasso (1881-1973) needs no introduction as a master of modernism who shattered the rules of painting and shaped the direction of art in the twentieth century, but the art world is now taking a second look at Picasso the potter. In 1947, Picasso turned to ceramics as a new outlet for his restless creative vision, after visiting exhibitions in Vallauris on the French Riviera (the centre of pottery since ancient times). Fascinated by the sight of potters working in their studios, Picasso began his own experiments with clay. The creations that emerged were typically bright and bold: Picasso juxtaposed abstract shapes with primitive-style animals, and adorned sculptural jugs and plates with playful faces.
His surprising move into pottery raised the eyebrows of some critics, but for many Picasso elevated what was considered a humble, rather staid craft into a vibrant, avant-garde art form. Now, eager collectors ensure the momentum in the market continues to build. A sale of eighty-nine Picasso ceramics at Christie’s in 2023 yielded a total of just over £3 million. While the sculptural pieces command serious prices, more utilitarian work and pots that were made in larger batches are still in reach for those on a more limited budget – for canny collectors, there is still the tantalising potential to own a Picasso for as little as £500 to £700.
Contemporary artists are enjoying a similar sales boon. Grayson Perry’s witty modern take on the narrative tradition of ancient vases continues to capture the imagination of art lovers and collectors alike. I Want to Be An Artist (1996) set the record for Perry’s work and far exceeded its estimate in 2017 by selling for £632,750 at Christie’s; in the years since, his pottery has continued to fetch six-figure sums. Magdalene Odundo’s hand-built sensuous ceramic forms are attracting similar prices, sparked by her 2019 solo exhibition at The Hepworth Wakefield (UK). The boom in ceramics intersects with other shifts in the art world, as both private and institutional organisations have begun to focus attention on acquiring more work by women, BIPOC, non-Western, Indigenous, and LGBTQI+ artists. A young generation of artists are using clay to craft new stories about society and identity, with notable rising stars including Jennie Jieun Lee (b. 1973), Lindsey Mendick (b. 1987), Bisila Noha (b. 1988), and Woody De Othello (b. 1991).
Such a seismic shift in the market for ceramics is being driven by a surge of interest in the medium and its makers from art institutions and organisations across the globe. Ceramics have gained prominence at the Whitney Biennial, the Venice Biennale, and Frieze London (which, in 2024, presented a new section dedicated to ceramic works that explore diasporic and indigenous histories). In January 2024, the launch of Ceramics Brussels – the first international contemporary art fair dedicated to ceramics – was a landmark moment that confirmed the art world’s passion for ceramics is much more than a passing trend.
Indeed, ceramics are firmly in fashion. One of the most high-profile collectors is Jonathan Anderson, a highly acclaimed fashion designer who wields serious clout in the art world. As the creative director of Spanish luxury fashion house Loewe, Anderson presides over the prestigious annual international Loewe Foundation Craft Prize, which celebrates innovation and excellence in craft (Mexican ceramicist Andrés Anza was the recipient of the 2024 prize). With his own label JW Anderson, Anderson has also collaborated with Odundo and ceramic artist Shawanda Corbett. Belgian fashion designer Raf Simons boasts a similarly impressive ceramics collection, evidence of a lifelong creative dialogue with clay and craftsmanship. This year, Simons parted ways with some of his eclectic collection in a series of sales with PIASA auction house in Paris, including several stunning examples of Picasso’s ceramics.
The crossovers between the world of haute couture and ceramics speak of the ways artists working with clay wield a deep, fundamental influence on wider art and culture. No longer undervalued, ceramics has emerged as one of the most impactful and influential forms in contemporary art. Whether crafted by a modern master or a young contemporary artist, ceramics are perfect pieces to add depth to existing collections or build a new one. As pots continue to smash records, ceramic art sets trends, and emerging artists pioneer new ways to innovate with clay, it’s essential to keep up to date with this dynamic market.