Jam Eton

  • Vivienne Ross
  • Annie Hellyer
  • Amanda Popham
  • Emma Johnstone - Gold teardrop segment vessel
  • Gallery courtyard at night
  • Jill Shaddock
  • Tony Laverick
  • The Gallery
  • John Maltby
  • Ingrid Saag

Contact Details

81 High Street, Eton, Windsor, Berkshire, England, SL4 6AF. View Map Email: Web-site: www.jam-eton.co.uk
Telephone: +44(0)1753 622333
Monday - Saturday 10.00am - 6.00pm
Sunday 11.00am - 4.00pm

About the Gallery

Jam is a successful and established gallery in the heart of Eton, a stone's throw from both Windsor Castle and Eton College. 

The gallery has an additional studio and courtyard space to showcase and sell its large selection of handmade jewellery, glass, ceramics, textiles and prints from emerging and collectible British designer-makers.
Each month, Jam features an individual jeweller or metalworker as its main window display.  Ceramics, glass and other crafts are also exhibited monthly in the studio gallery and the larger pots and sculptures can be viewed in the courtyard during the warmer months.

Jam Eton was established in 1994, originally as Eton Applied Arts, and is the brainchild of husband and wife team Mike and Jacqueline Turner. Mike's background is in engineering and Jacqueline is a potter trained at the Royal College of Art. It was through her ceramics business that the seeds were sown for the gallery in Eton. Information about some of their ceramic artists is shown below.

Potters at this Gallery

, Karen Atherley, Peter Beard, Annie Hellyer, Annie Hewett, Jeremy James, Chris Keenan, Hilke MacIntyre, John Maltby, Bridget McVey, Jane Muir, Emily Myers, Vivienne Ross, Ingrid Saag, Jill Shaddock

Amanda Popham

1974-1977 Portsmouth Polytechnic. Fine Art
1977-1979 Royal College of Art. Ceramics MA(RCA)
At the Royal College of Art, Amanda came into contact with a wealth of inspirational artists, who increased her sense of what could be achieved, including Eduardo Paolozzi, Jacqui Poncelet and Alison Britton. Sstudents were encouraged to push the boundaries and let their imaginations go wild. Amanda stuck with traditional British ceramic traditions but added her own vivid imagination and developed a world of mythological fantasies and legend. 

From the earliest years of her art career, her reputation was established with an exhibition at Liberty of London in the 90s. She has a waiting list of collectors the world over for her imaginative pieces

The works are largely figurative, with particular attention paid to facial expression and hand gesture. Each piece is entirely modelled by hand, the clay being allowed to slowly dry to avoid cracking. 

Christy Keeney

1985-1987 Royal College of Art, MA Ceramics
1980-1982 Limerick School of Art and Design, BA Ceramics
Christy studied ceramics at the Royal College of Art in London. His work on figurative ceramics is an investigation into the human condition and his forms are stretched to the point where sculpture and drawing overlap. 

After spending 17 years in London, Christy returned to his native Donegal where he now lives and works. His sculpted slab-built heads and figures demonstrate a wonderful sense of draughtsmanship with details drawn into the wet clay surface.

He visited a retrospective exhibition of Picasso at the Tate gallery in the early 80s when he was at college, and says that many of his influences came from seeing that work, especially a collection of small cardboard cutout and folded, figurative sculptures. These simple two-dimensional pieces opened a world of possibilities on how he would later approach his own work. 

A number of notable people have commissioned work from Christy, including: Sir Eduardo Paolozzi, HRH Prince of Wales
Eva Zeisel, New York, Rt. Hon John Butcher MP, Kate Malone

Emma Johnstone

Emma Johnstone is a London-based contemporary ceramicist who creates work using the dramatic firing process of raku. Each piece is a unique hollow-thrown vessel or wall piece, which is raku fired and gilded with three types of gold and copper leaf.

Emma first learned the ancient Japanese technique of raku 楽, meaning ‘enjoyable, comfort, ease' in Jerusalem and has been on a journey into its possibilities ever since.

Her work explores the tension between this dramatic, intense, and fast-firing technique, and the aesthetic possibilities of elemental qualities and shapes. In raku, the pot is brought to 1000°C in less than 1 hour and then, while it glows red-hot, it is removed from the kiln with tongs and placed into a bin of sawdust. The thermal shock as the temperature rapidly drops causes fine cracking in the surface glaze. As the sawdust smoulders, the carbon produced is absorbed into the cracks in the glaze, staining the surface of the pot in a dramatic and distinctive pattern.

Her work continues to evolve, and has explored deconstructing earlier pieces. By removing sections of the original forms, new planes are revealed and the form takes on a fresh perspective. She has also begun experimenting with curved planes, and creating wall pieces.
Emma's work has been featured in the following publications:
The Guardian
, The Independent
, House and Garden
, The Times
Homes & Gardens
, Saturday Times Magazine
, The Telegraph Magazine
, Live it - Conran Magazine
, Ceramic Review
, The Evening Standard
, Mail on Sunday Magazine
, Ceramics in Society
Homes, Antiques
Essential, Homes
, Craft Magazine

Susan O’Byrne

1994-1999 Edinburgh College of Art. Design and Applied Art, First Class Honours
2002 Edinburgh College of Art, Post Graduate in Ceramics
Our childhoods are filled with animal images; their many names, shapes, colours and patterns fuel our early imaginations. Throughout history animals have also been used in storytelling, legend and folklore to simplify the complexities of adult life. In the same manner, Susan O'Byrne uses the animal form as a vehicle for the expression of human emotions.

Susan aims to give her animals a certain awkward vulnerability. This is achieved through a very personal making process. Susan makes a wire framework on to which layers of printed and patterned pieces of porcelain paper clay are applied to form a skin. The natural twists and kinks of the wire frame and the shrinkage of the clay around it during firing are allowed to dictate the posture of the finished animal. The element of chance in these processes is central to Susan's work.
Susan's work has been featured in the following publications:
Keramiek (NL)
, Ceramic Review, Ceramics with Mixed Media by Joy Bosworth, Crafts Look Out, Homes and Interiors Scotland,
Ceramic Review, Homes and Interiors Scotland 

Laurance Simon

1985-1986 Cardiff School of Art
1984 New York State College of Ceramics, Alfred University
Laurance uses both red and white earthenware in her pieces, letting the clay dictate its own direction. It may turn out to be a vessel, or a sculpture but it will have a common thread, that of Laurance's love of nature and the animal kingdom, but with a twist. This is Laurance's recipe for keeping alive the enjoyment of building, carving and modeling. 

Animals play a huge part in her work; they are playful, whimsical and humorous; pigs wear red heels, lemurs have party hats. It's a lively menagerie that keeps Laurance, and those who love and collect her work amused.

Constructing pieces with a delicate sense of balance is another joy Laurance draws from her work. She says that she makes her pieces for her own pleasure and if she can offer this to others then it is all the more rewarding. 

Laurance's work has been exhibited widely since 1986 including at the Victoria and Albert Museum and Tyne and Wear Museums. 

Laurance's work has been featured in the following publications:
The Independent, Artnews, Crafts Magazine, Neue Keramik,ES Magazine, Ceramics Magazine, Hampstead and Highgate Express
Country Living Magazine, Le Soir (Belgium), The Scotsman
Evening Standard