Notes from Herridge - Edition 10
Hello, and welcome to the latest edition of Notes from Herridge.
A monthly update from my Oxfordshire pottery studio, where I share what I’ve been making, what’s coming up, and spotlight a fellow maker whose work I think you’ll love.
Grab a coffee and let’s catch up ☕
Studio Happenings
March has been a month of new experiences, and a real step into a different side of the business.
At the start of the month, I headed up to Skipton for the UK Artisan Made Trade Show. When I say I didn’t quite know what to expect, I really mean it. I wasn’t even sure whether I should be taking stock to sell there and then, or simply showcasing the range.
As it turns out, it’s very much the latter. It was a brilliant few days, and I learnt a huge amount about how the trade world operates: pricing structures, how some makers develop dedicated wholesale collections alongside their retail work, and how buyers view handmade pieces in a shop setting.
Most importantly, it felt like a really positive step forward. I’ve come away with a handful of promising leads which could see Herridge stocked further afield.
Back in the studio, my main focus has been building stock ahead of Oxfordshire Artweeks. This has meant returning to familiar favourites such as dimple cups and caddies, while also carving out space to experiment with porcelain and explore new forms.
Finding the balance between those two can be challenging. There is a need to focus on collections that consistently do well, while also pushing creatively into new territory. More often than not, the outcome of that exploration is simply learning, but that in itself feels like an important part of the process.
Outside of my own studio, I was incredibly fortunate to spend an afternoon in Jane White’s studio. Jane is a Fellow of the Society of Designer Craftsmen and works primarily with pit-fired ceramics, hand-building much of her work. When her pieces emerge from the pit, they reveal a kaleidoscope of colour, with every piece entirely unique.
I made a pendant lampshade myself and am quietly hoping it makes it through the firing intact, something that can never quite be guaranteed.
I also had a pinch-me moment when delivering an order to Lavender Green Flowers this month, this time for the events side of their business. They hold contracts with a number of London venues, including the Mandarin Oriental, so if you happen to find yourself there, do keep an eye out.
You might just spot Herridge dimple cups being used to hold succulents.
Yes… Herridge in the Mandarin Oriental.
What’s Coming Up
The next few weeks are very much centred around one thing: preparing for Oxfordshire Artweeks.
Oxfordshire Artweeks
Oxfordshire Artweeks is just around the corner, and I’ll be showing at The Tree Barn, Christmas Common from 2–10 May.
As with last year, the artists will be working throughout the week, and we’re planning a few hands-on sessions that visitors will be able to book onto. It’s always a relaxed, creative week and a lovely chance to talk properly about the work
Opening hours:
Tuesday–Thursday: 12:00–6:00 pm
Friday, Saturdays & Bank Holiday Monday: 12:00–7:00 pm
Final Sunday: 12:00–3:00 pm
Plus - burger night on Friday the 8th and Saturday the 9th May.
Maker Spotlight — Megan Sayers
This month’s Maker Spotlight is on Megan Sayers, an artist whose work immediately stops you in your tracks.
I visited Megan at her home, where she was working at the kitchen table, with light pouring in through skylights above and hydroponic plants surrounding her. The table itself was covered in large sheets of thick paper, each filled with intricate, textural patterns. It’s only later in our conversation that I realise the plants around her are deeply connected to the work itself.
At first, the concept sounds simple: she “draws” using a needle, creating tiny holes in paper. But seeing the work in person tells a very different story. It’s incredibly delicate and detailed. It is a slow, considered process where shadows, light and texture do the work that pencil or paint might usually carry.
Up close, the tools themselves tell their own story. A simple sewing needle is embedded into a cork to make it easier to hold, and wrapped with a strip of fabric to soften the grip over long periods of work. Beneath the paper, a layer of putty protects the table as the needle passes through, again and again. It is repetitive, physical, and quietly demanding, far removed from the simplicity the idea might first suggest. The corks, she tells me, often comes from her shifts at the local pub.
The surface changes as you move around it. Patterns appear and disappear. What seems minimal at first becomes increasingly complex the longer you look.
Megan’s work is inspired by mycelium and fungi, the hidden networks beneath our feet. She talks about a fascination with how plants communicate, how these underground systems connect and support one another. It’s something unseen, but deeply present. Her interest in hydroponic plants comes from the same place, a chance to observe the root systems that are usually hidden from view.
That influence comes through in her compositions, where forms emerge as circles, spirals and gently expanding structures, organic, intuitive and quietly rhythmic. Occasionally the paper gives way under the intensity of the process, tearing where it can no longer withstand further piercing. Even this feels in keeping, with the frayed edges becoming part of the work rather than a flaw.
There’s a quiet discipline to her practice. She works in short, twenty-minute intervals to rest her eyes, and relies on natural daylight, meaning the shorter days of winter impose their own rhythm. These constraints don’t hinder the work. They shape it, reinforcing that same sense of care and attentiveness.
Watching her work feels almost meditative. There’s a steady rhythm to it, the soft, repetitive sound of the needle piercing the paper into the putty beneath, occasionally flipping the sheet to reverse the direction of the marks. Gradually, these ethereal patterns begin to emerge.
Megan will be showing alongside me at The Tree Barn, Christmas Common from 2–10 May as part of Oxfordshire Artweeks. Her work ranges from large, immersive sheets to smaller, more intimate pieces, each carrying that same quiet intricacy. They ask you to slow down, to look closely, and in doing so, reveal far more than first meets the eye.
The best way to keep up with Megans work and exhibitions is via Instagram:
If there’s a maker, potter or otherwise, local or further afield, whose work you think deserves the spotlight, I’d love to hear from you. Just comment below with their name. And if I can get to their studio, I absolutely will! Stepping into someone’s creative space brings a whole new layer of insight. You see the context, the process, and what the work gives back to the maker, it’s always deeply rewarding.
A Little Treat for You
As a thank you for reading all the way down, here’s a small treat:
Use code NOTES10 for 10% off all handmade pottery online orders until Sunday 12th April.
If you’ve enjoyed this edition, feel free to forward it to a friend who loves handmade ceramics.
Until next time, Henrietta x