Meet the Maker: Wilderframe and the Art of Pressed Flowers
From her studio in the Scottish countryside, Fi McDougall creates art that celebrates the poetic beauty of the natural world. As the founder of Wilderframe, Fi crafts original floral sculptures and wall art that blend traditional botanical techniques with a contemporary eye.
Drawing from her background in English literature, and a lifelong fascination with plants and flowers, her work is rooted in both symbolism and structure. Each piece is hand-cut, thoughtfully assembled, and carefully framed using sustainable materials and intricate, hand-finished details that reflect Fi’s mindful approach to making.
1. Can you tell us a bit about yourself and your artistic journey?
I began my career as an English teacher and had never, until recently, considered the possibility that I might be able to make a living from creating things. I have always, however, had a deep respect for craft and a love of plants and flowers.
It was towards the end of the Covid lockdowns, while on maternity leave, that I started exploring a range of crafts and mediums I’d not touched for years. I was struggling with Post-Natal Depression and felt so relieved to be doing something for me and something that felt productive during the stolen hours when the kids were sleeping.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
I have a tendency to get a bit obsessive and pressing flowers really captured my imagination. I came back to my childhood hobby through the lens of adult interests in Victorian literature and the practice of keeping herbaria; I sympathised with the desire to identify, collect and freeze an ephemeral moment during an uncertain time. All other techniques I have used subsequently are connected to this impulse.
I have been incredibly lucky to have found people who have supported me through sharing, buying, commissioning or exhibiting my work and enabled my practice to grow organically.
Your craft
3. How would you describe your work in three words?
Floral, decorative and nostalgic
4. What materials or techniques do you use, and why are they important to your process?
I am not very good a sticking to one medium or technique. I’m still experimenting and suspect I will continue doing so forever! The unifying theme is flowers, and I try to work from real life as much as possible. I enjoy using metal because it is so materially different to a flower, but can be used to render one beautifully. It’s a satisfying contrast.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
A large circular pressed flower collage, over a meter in diameter, which charts the flowers in our local area from early Spring to late Summer. It was one of the first pieces I made for an exhibition and it received such generous feedback during the show. I loved watching people examine it, identifying the flowers and often sharing nostalgic recollections of childhood.
Creative process
6. What does a typical day in your studio or workshop look like?
No day is the same! I’m trying to get better at organisation and admin, and I find that ticking off a few tasks first thing can help me to get going. I then often get out about five different projects, make quite a lot of tea, and hit my peak level of productivity just before I have to hit pause!
7. Do you have any unique rituals or habits that help you stay creative?
I am not sure any of my habits are particularly unique, but the things I find most helpful are long walks and conversations with creative friends. And podcasts in the studio that are distracting enough to silence some of the internal chatter but that don’t steal all my attention!
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
I’m still in the very early stages of my creative career and welcome tips from anyone! In my short experience, I have found that if I’m struggling with a particular project, I need to relax and let it sulk in the periphery. Re-inspiration often finds me when I’m happily working on something else!
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Learning how to managing time. In teaching, my timetable was managed for me and I’m still adjusting. I’m chronically bad at prioritising, estimating how much time things will take and therefore planning my workload effectively. I need the pressure of a deadline but also get wildly anxious. I am a long way from overcoming it, but through seeking out the wisdom of friends, and getting people to hold me to interim deadlines, I’m getting at least a little better.
10. What’s been your proudest moment or achievement so far?
Exhibiting in a group show at Dalkeith Palace with other artists whom I greatly admire. I felt completely fraudulent but it was a real turning point in my fledgling career where I sold well and thought I might try to really give this a go.
11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
‘it must have taken ages’, or ‘it’s so detailed and looks like the real thing’
– Overheard by people coming over to the studio
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
My inspiration comes from the garden, from literature and from my own research. I also attend regular courses and workshops to continue learning new skills. There is no doubt that looking at beautiful things is one of the most powerful ways of igniting my imagination. But I need to be careful not to get over-stimulated: the access to boundless material on social media can often have the reverse effect and ends up being a bit disheartening or distracting.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I think I’m most interested the social and aesthetic discourse of the Arts and Crafts movement, which seems germane to our own era, although it is not a straightforward relationship.
I’ve also just discovered the work of metal sculptor Shota Suzuki; his work is achingly beautiful!
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour is very important to my work, often for framing choices but increasingly for the works themselves as I use a wider range of media. Most inspiration comes from the flowers in the garden!
Perspectives and goals
15. What role does your environment play in shaping your creativity?
It is central to everything; the garden provides all my models! I’m also fully submerged in family life which no doubt informs the why and how of everything I do.
16. What do you want people to feel when they experience your work?
I would love people to feel the same joy as when they see a beautiful flower in the wild; I try to use enough accuracy in the rendering of any specimen I create to capture some of the evanescence of nature.
17. What are you currently working on, and what excites you most about it?
I am working on a new collection of potted plants and collages that incorporate a more literary element. I adore the feeling of starting out in a new direction and feel very excited to be combing some of my passions more explicitly. The scale is growing which is both daunting and exciting!
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Build a community to people who can boost you up when you’re struggling with imposter syndrome or a crisis of confidence! I would not have managed without the help of more experienced makers and artists who have been generous with their wisdom and encouragement.
19. If you could go back to the start of your career, what advice would you give your younger self?
Have confidence in your own style. If it doesn’t work straight away, it doesn’t mean it won’t work at all. I’m on a permanent quest for authenticity which is hard to find against the background noise of social media.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
Mary Delany, the remarkable eighteenth-century artist who created botanical masterpieces in collage. Her work is exquisite and incredibly scientifically accurate and I imagine she would have an infectious and generous creative energy alongside an enviable botanical knowledge. Her artistic endeavours traverse many crafts, but her most prolific period arrived later in life; a source of constant inspiration!
21. Where can people find your work, and how can they support you?
My work is primarily available in small drops on my website, www.wilderframe.co.uk, group exhibitions and via a small number of retailers. The best way to keep up to date with new work is via instagram, @wilderframe!
To explore more of Fi’s work, follow Wilderframe on Instagram and visit the website to discover the latest collections, commissions, and botanical pieces designed to bring nature, and a touch of poetry, into your space.
Explore Wilderframe’s latest collection and follow her creative journey:
Meet the Maker: Emily Daborn of The Good Life Home
Emily Daborn is the creative force behind The Good Life Home, a London-based studio specialising in contemporary art and prints. With over 25 years of experience in the fashion, homeware, and stationery industries, including roles as Head of Print at Papier and Senior Print Designer at Oliver Bonas, Emily brings a refined eye and a wealth of industry insight to her work.
Now focused on her own collections and collaborations, she creates joyful, design-led pieces that celebrate pattern, colour, and the art of considered living.
1. Can you tell us a bit about yourself and your artistic journey?
I’m a Print Designer and Artist, creating contemporary Original Art and Giclée Prints.
I studied Printed Textiles at Art college and have worked as a Print Designer all my career, designing for Fashion, Homewares and Stationery. Most recently Head of Print at Papier and Senior Print designer at Oliver Bonas, which completely reinforced my love of homewares. Now I concentrate on my own collections of contemporary Art and Print, together with collaborations with other likeminded designers and creators under The Good Life Home.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
I think it goes back to when I was 10, drawing 80’s fashion designs (shows my age!!)… I wanted to be a fashion designer and remember a light bulb moment of, what if I could have a career doing what I love. The other influence was having the best crazy A level Art teacher!! Brilliantly bonkers and inspiring!
Your craft
3. How would you describe your work in three words?
Playful, Colourful and Expressive.
4. What materials or techniques do you use, and why are they important to your process?
I love to start everything by painting / drawing by hand. My Favourite medium is Acrylic! I’m not very neat so it’s perfect! I also love my Pental ink Pen for linear brush work. It’s so lovely and free and amazing for inky doodling!
If I’m working on a Print, I like to scan my drawings into photoshop. I rarely draw in Photoshop, I just use it as a tool to clean up, repeat and create designs. Another necessary part of the process is my Wacom tablet and Pen – I can’t use a mouse!
5. Can you tell us about a favourite piece you’ve created and the story behind it?
My Favourite piece is my Bespoke Wallpaper design for interior design Studio Jill. It’s in different areas of New Park Manor Hotel and was a real collaborative project, taking inspiration from The New Forrest surroundings and Whimsical Alice in Wonderland…. Think inky mushrooms and animals in pyjamas!
Creative process
6. What does a typical day in your studio or workshop look like?
Coffee, packaging up orders, emails and meetings. Walking my lovely but naughty dog Ronnie. More Coffee and Creative time – either painting/ drawing or designing. In summer I’m in my garden studio .. ahem .. shed, which I LOVE. Winter, I’m at the kitchen table .. for now, but watch this space.
7. Do you have any unique rituals or habits that help you stay creative?
Coffee ,dog walk and Music -I’m a headphone girl as it makes me focus more. Doodling in a sketch book with a sharpie or ink pen always helps.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
I think getting out and about is the best! Exhibitions and small independent shops to see what’s current, Vintage markets and Charity Shops for incredible print inspo! Ditch the computer and socials for the day, but take loads of photos. Also, Nothing beats meeting creative friends in the pub! ideas flow!!!
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Over the years while freelancing as a Print Designer there was A LOT of times I was designing something I didn’t like, whether it was the product or style of print, which takes the joy out of designing, but in the end it meant my handwriting is quite adaptable.
At college, they tell you to ‘find your style’ something I don’t believe in. Some people have this and it works for them. For me, my style is forever changing and I have worked with many different people because of it. I enjoy working in different ways and styles.
I think the other huge challenge can be the financial challenge starting your own thing, and this is still work in progress!
10. What’s been your proudest moment or achievement so far?
There have been a few moments I’m proud of but tbh,I still get the biggest buzz from having a career from what I love doing. I know a lot of people that just work for money and actually hate what they do.
Inspiration
11. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
I like to paint ‘everyday still life’, so inspiration could be dinner with friends, or playing shithead on holiday. My work is based on what what I’ve been up to.
12. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
So many!!! Too hard to define as I love so many different artists for different reasons! Milton Avery for colour, Mary Fedden and Pierre Boncompain for composition, Sonia Delaunay, and Wayne Pate for patterns, Jean Cocteau and Picasso’s playfulness and my kids art for everything. And many many more!
13. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour is so important! People will buy a painting or print to complement their colour scheme in their home, but sometimes people might start with the paintings and work the colour scheme around it!
I have a lot of art books which I’ve collected over the years which are great source when stuck for a burst of colour inspo. Milton Avery always seems to be great!
Perspectives and goals
14. What role does your environment play in shaping your creativity?
It’s so important! I need lots of daylight to see the colours and the space to be messy and free! If I am painting, I often work across a few canvases at a time. I also need a ‘clean area’ if I am designing on the computer. It hasn’t always worked out to have the right space!
15. What do you want people to feel when they experience your work?
I want them to feel happy!
16. What are you currently working on, and what excites you most about it?
I’ve have a few things in the pipeline for this year which is exciting! I working on some new print collections and Original Art, but I’m also hoping to expand into different homeware products!
Advice and reflection
17. What advice would you give to someone starting out as a maker?
Don’t be afraid to ask for advice. Everyone has been there.
18. If you could go back to the start of your career, what advice would you give your younger self?
To have more confidence. Not to overthink everything.
Closing thoughts
19. If you could collaborate with any artist, past or present, who would it be and why?
I’d love to collaborate with Joseph Frank on something Print and Pattern, And Jean Cocteau! -Perhaps help paint the murals on Villa Santo Sospir walls – something very inviting about painting so freely on a large scale!
20. Where can people find your work, and how can they support you?
My website, thegoodlifehome.co.uk and ig feed: @thegoodlifehome
I think one of the best ways of supporting me is seeing my work in stiu in peoples homes. I love how people style art differently, and it’s so nice to see a photo and see the print / painting when they are in their forever home.
From her London-based studio, Emily Daborn brings over 25 years of industry experience to The Good Life Home—her creative world of contemporary art and print. Blending bold design with a love for colour and craft, Emily’s work reflects a commitment to thoughtful, joyful living and collaboration with like-minded makers.
Discover her latest collections and follow along at The Good Life Home:
Support The Good Life Home by following along on Instagram and exploring the latest collections and collaborations on their website, a destination for thoughtful design and timeless print-led pieces.
Meet the Maker: Where Art Meets Fashion with Robson Stannard
In this Q&A with Robson Stannard, the London-based fashion portrait artist shares the journey behind his vivid, intuitive style. Blending his background in Fashion Illustration with a fine art sensibility, Robson creates multi-media works that are as expressive as they are precise, each one exploring the human figure through energetic linework, tonal depth, and a distinctly playful edge.
1. Can you tell us a bit about yourself and your artistic journey?
Robson Stannard graduated from the London College of Fashion with a degree in Fashion Illustration in 2017. Working fundamentally as a fashion portrait artist, he creates images using a variety of media. His vivid, illustrative aesthetic builds upon the human form with multi-tonal strokes of colour, in a way that is at once playful, yet always identifiable.
2. What inspired you to pursue your craft? Was there a defining moment or influence that
sparked your passion? I’ve always wanted to pursue a career based in the Arts, throughout school its what always felt like the right direction for me to explore.
Your craft
3. How would you describe your work in three words?
Playful, Graphic & Fluid.
4. What materials or techniques do you use, and why are they important to your process?
I mainly work in Acrylic & coloured pencils and then collage using these techniques.
Creative process
5. What does a typical day in your studio or workshop look like?
If its a day creating then I will always start by making a coffee to wake myself up and get the creative energy flowing, I will then aim to draw and paint as much as I can and catch up on any admin throughout.
6. Do you have any unique rituals or habits that help you stay creative?
Caffeine
7. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Sometimes we all need a break and I think its important to realise as and when that’s approaching.
Inspiration
10. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Francis Bacon
11. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
Francis Bacon and a plethora of illustrators.
12. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites?
Any go-to sources for colour inspiration? I aim to be as colourful and impactful with colour as I can.
Perspectives and goals
13. What role does your environment play in shaping your creativity?
Throughout lockdown when I was based in Suffolk, it shifted my work to begin to look at nature more and my flower collages were the result of this.
14. What do you want people to feel when they experience your work?
Joy
15. What are you currently working on, and what excites you most about it?
I am currently working on getting back into more fashion illustration portraits.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Create create create and aim to not compare yourself to others.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
Francis Bacon, I think he’s an incredibly interesting figure and somewhat strange.
21. Where can people find your work, and how can they support you?
Mainly Instagram or through SHOWstudio
Blending fashion, portraiture, and expressive colour, Robson Stannard brings a bold, illustrative energy to everything he creates. Whether working on editorial commissions, large-scale collaborations, or live workshops, his distinctive style captures the human form with movement, emotion and unmistakable flair.
Explore Robsons’s latest collection and follow his creative journey:
Support Robson Stannard by exploring his dynamic, character-driven portraits and following along as he redefines the space between fashion and art, one bold stroke at a time.
Meet the Maker: Rachel Bottomley and Life in Colour
Working from her home studio in the Surrey countryside, contemporary painter Rachel Bottomley creates richly layered works that honour the joy of everyday life. Through intuitive use of acrylics, oils, pastels and pencil, her expressive pieces blend observation with imagination, capturing the essence of a moment in bold colour and fluid form. A self-taught artist who refined her practice through Turps Art School, Rachel’s distinctive style has gained recognition in both private and public collections, from the British Royal Family to collaborations with brands like Smythson and Sharland England. Her work is at once vibrant and grounding, offering a painterly invitation to pause, look closer, and celebrate the stories that shape our daily lives.
1. Can you tell us a bit about yourself and your artistic journey?
I am a contemporary painter based in South Surrey, working from my home studio surrounded by countryside. I live with my husband and two children, who are 7 and 5 years old. I am obsessed with colour, pattern and details. My wandering mind is often distracted by beautiful things which end up on my easel.
Growing up I always had a sketchbook on the go and loved anything creative. I didn’t go down the art route after school and trained to be a primary school teacher. I taught in schools for ten years until I had my children and it was then art found me again as I stepped away from teaching. Painting has been so important to me and given me headspace away from the challenges of parenthood. The immersive nature of my work allows me to be totally present and enter a different world becoming completely absorbed in my textured painting process.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion
There was definitely a defining moment. My journey as an artist took an exciting turn in June 2021 when I attended a liberating still life workshop with artist, Rose Electra Harris. My day with Rose opened my eyes to a new way of painting, allowing me to release my inhibitions and paint with my whole body engaged. Rose inspired me to paint exactly what I see and not what I think my painting should look like, as well as giving me the opportunity to engage with a range of media. She guided me into a place of freedom and total joy when painting.
Your craft
3. How would you describe your work in three words?
Joyful, energetic and layered
4. What materials or techniques do you use, and why are they important to your process?
I savour the sensory experience of dusting pastels, gliding brushes, smearing oil sticks and dashing pencils into dynamic marks and intricate details. It’s immersive and the tactile nature of working with different media is part of the joy for me.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
‘The Candy Shop’ This was a big painting—a celebration of spring—featuring three shelves lined with vases of flowers. Do you remember that feeling of stepping into a sweet shop? The walls lined with jars and you can almost taste the sweets before you’ve even picked them, your little paper bag ready to be filled to the brim. My favourites were (and still are!) bubble gum cola bottles. That’s exactly how I feel about flowers and vases—the same thrill and joy. The flowers in vases represent my kind of candy shop.
For this piece, I chose spring flowers and arranged them in the order they bloom in the garden. The top shelf holds snowdrops and hellebores—the first signs that spring is on its way. Below them, daffodils take their turn, bright and bold. And finally, the main event: the tulips, dancing in full bloom, announcing that spring is here at last.
There was so much emotion behind this painting—the thrill of colour, the playfulness of mismatched vases, the promise of change. It holds the sweetness of new beginnings, the warmth of sunlight just around the corner. If this painting hung in my home, I know it would make me smile. It’s a reminder that no matter how long winter feels, spring will always come.
Creative process
6. What does a typical day in your studio or workshop look like?
I work in my home studio a stones throw from a national nature reserve in the Surrey countryside, surrounded by nature. I’m a mother of two small children, so my day is sandwiched with the school run. I am very grateful that I have a job which works so well around my family. My working day usually consists of painting commissions, work for exhibitions and completing admin tasks like packaging prints.
7. Do you have any unique rituals or habits that help you stay creative?
I go through phases of feeling creative and then not at all. I think over time I have got better at stepping away from the studio when I’m not feeling creative and accepting it, rather than trying to fight it. It always come back and when it does, I can often have bursts of doing lots of work in a short space of time. If I don’t have a choice, for example, if I’m working towards an exhibition and have to produce work, I will look through images I’ve collected over time from travelling and magazines and root through my collection of textiles.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Luckily, I have never had a big creative block but I have tried to prepare for when it does inevitably happen by getting the highly recommended book, ’The Artist’s Way’. I have started to read it and there are some interesting ideas in it; one is having a date with yourself every week to do anything you want, such as a walk, exploring an antiques shop or sitting in a garden.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Juggling all the jobs that need doing: painting, packaging, shipping, website admin, sales, PR, social media… the list goes on! It’s tough to keep on top of everything, but I think there are pros and cons of every job in life, so it’s just part of it.
10. What’s been your proudest moment or achievement so far?
When I hear my children telling people I’m an artist and when they tell me they love my paintings and get excited about them. My proudest moment professionally was my joint show on Portobello Road with artist, Camilla Perkins, curated by Amelia Maxwell. I was really proud to be showing alongside Camilla and over the moon that so many paintings sold.
11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
“Layering mediums with abandon, Bottomley’s work is filled with dynamic energy, each stroke a testament to the joyous symphony of hues found in the natural world. With exaggerated lines and playful compositions, she transforms still life into vibrant flower paintings with movement and rhythm, inviting us to dance alongside her colourful brushstrokes.”
– The House Magazine
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Inspiration finds me! Each painting begins with a scene or object that makes me look again. My friends call me a magpie, drawn to colour and detail that I take back to my nest and make my own. I love to think of my paintings in that way, full of treasures and collectibles.
The subject of my work is often flowers, but what gives it greater depth are the details I draw upon to bring my scenes to life. The intricate weave of a welsh blanket or playful patchwork quilting, handmade ceramics I’ve collected over time, encaustic tiles from Lisbon, and the colourful masonry of homes I’ve pottered past in Greece – these are all elements with which I decorate my artworks – a colossal memory bank of pattern and colour is raided with each and every painting.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I’m am very drawn to Milton Avery’s use colour, especially how he added occasional pops of accent colour. He didn’t follow rules, “I never have any rules to follow… I follow myself”. As well as Avery, Emily Powell’s practice has become an huge inspiration to me. In a workshop, she encouraged us to “paint like nobody is watching” and “let your paintings look after you”. With this in mind, I am striving to place greater emphasis on connection, emotion and following my intuition in my own practice.
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour is a huge influence from me, drawn from everyday life, travels and my imagination. Piece by piece, I intuitively add to the puzzle of colour, pattern, and texture. Each component holds its own presence, but when placed in contrast with another, reveals something new and unseen. This layering and balancing of tension and harmony is at the heart of my process.
Perspectives and goals
15. What role does your environment play in shaping your creativity?
Each painting begins with a moment, object, or scene, from nature or everyday life that captivates me. This spark ignites my imagination and motivates me to reimagine, reinterpret and create.
16. What do you want people to feel when they experience your work?
Comfort and joy initially. Those who look closer will be rewarded with hidden treasures.
17. What are you currently working on, and what excites you most about it?
I have recently been so lucky to travel to India and Marrakesh. I am currently absorbing myself in all the photos, letting my ideas simmer and then I’ll be creating work inspired by my trips.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
To go with your gut and try to ignore the negative voice in your head. Also, try not to criticise your work whilst you’re still working on it, focusing on enjoying the journey it’s taking you on instead. I’ll let you know if I work out how to do either of these things!
19. If you could go back to the start of your career, what advice would you give your younger self?
The same as my last answer!
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
I think I’d actually like to collaboration with an interior designer or textile company as I’d love to design my own fabrics and wallpapers.
21. Where can people find your work, and how can they support you?
From my website you can access my available work directly from my studio and I also keep my website up to date with my gallery works, with links to take you to their website. I do also make work available through instagram and sometimes sell pieces on my stories. I have a newsletter that you can sign up to on my website and I make sure I let my subscribers know first about new work, prints and exhibitions.
Support Rachel by exploring her vivid, joy-filled portfolio online, discovering her original paintings and commissions, and following her evolving practice as she brings more colour, emotion and energy into the world through art.
Explore Rachel’s latest collection and follow her creative journey:
Support Rachel by exploring her expressive, joy-filled paintings, discovering vibrant works that blend observation with memory, and following her creative journey as she captures everyday life in colour, pattern, and intuitive mark-making.
Meet the Maker: Polly Wolly Doodles and the Gentle Art of Framed Florals
Polly Wolly Doodles brings her playful, painterly touch to the quiet poetry of the English countryside. A multi-disciplinary artist with roots in doodling and a flair for fabric, Polly creates delicate floral studies using chalk paint and acrylic, each one thoughtfully framed in textiles she wraps by hand.
Her consistent, neutral-led palette creates harmony across her pieces, while vintage and organic fabrics add depth, texture, and story. Blending past and present with care, Polly’s work invites us to slow down and enjoy the shifting beauty of the seasons.
1. Can you tell us a bit about yourself and your artistic journey?
I am based in Somerset, with three young children. Following the birth of my second child, and developing PND, I began to draw and paint as a way to come back to myself. I have since been diagnosed with ADHD – art is very much my special interest, and I feel like I haven’t quite scratched an itch if I don’t create something every day!
I initially offered pencil portraits, but then felt drawn to colour and botanicals, and so began to explore, first with oil pastels, then watercolour and now I offer originals painted using chalk paint, which are framed using fabrics and papers.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
It was feeling totally lost that inspired me ! I was looking after two small children on my own week in week out as my partner worked away from home and struggling with my mental health.
I had an accident involving my very overheated car that resulted in me getting really burnt on my face and arm – I think everything had to metaphorically and physically reach boiling point before I realised I needed something that gave my brain room to roam away from the demands of being a mum/running the home/domestic life.
Your craft
3. What materials or techniques do you use, and why are they important to your process?
I use chalk paint – which is natural and free of toxins. I use organic/reclaimed fabrics as much as possible – I love repurposing things like old cushion covers – trying to work as sustainably as I can feels important.
4. Can you tell us about a favourite piece you’ve created and the story behind it?
I created an entire auricular theatre of 9 individual paintings in a huge fabric covered frame – I loved it because I sat on the idea for nearly a year, and just felt very proud when I actually made it as I didn’t make it necessarily to sell but more to just ‘see’ it in real life
Creative process
5. What does a typical day in your studio or workshop look like?
Always starts with coffee, then if I am painting, I am really disciplined about sitting down to work by 9 at the absolute latest. I will listen to an audio book or one of my favourite podcasts and pretty much not lift my head up from my painting until I have to collect my kids from school! If I am making frames, I work on the floor, and gradually become more and more covered in glue and scraps of fabric until I emerge from the studio like some sort of sea monster.
6. Do you have any unique rituals or habits that help you stay creative?
Podcasts/audiobooks are a must, as is coffee – which is actually normally forget about but I need to have it on my desk.
7. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
When I feel blocked, I have to be really strict with myself and down tools. Stepping away, giving my head time to calibrate and just stopping for a moment is the only way through for me. I don’t create when I feel blocked, but I will turn to archives online to research things and try and find something to help me move forward and look at my issues in a new light. But really, I think often creative blocks are the brains way of calling for a break, so I try to make myself do that (which is easier said than done).
Challenges and successes
8. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
The biggest challenge for me is managing my ADHD – its makes me so sensitive to rejection – perceived or real, it makes me hyper critical of myself, it makes me overload myself with choices so that moving forward can be really overwhelming. It makes the ‘boring bits’ (aka the essential, grown up parts !) of the job feel like pulling teeth as the reward centres in my brain feed off making art and enjoying how it looks etc as opposed to thinking about how I’m going to book a courier and package up my work on time.
9. What’s been your proudest moment or achievement so far?
Definitely having my work sold in Liberty.
Inspiration
10. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Gosh I spend HOURS researching historical artwork – I go back as far as medieval books of hours pages, trawling online libraries and looking at colours, compositions, pattern – thinking about how I can combine all the things I love into one single piece. I love looking at old fabric pattern books, relics of pieces and scraps of salvaged embroideries.
11. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I don’t have a singular favourite for any of these as Im just constantly moving through so much information and research that I am alway falling in love with something/someone new – but I really adore the Arts and Crafts movement, I come back to it a lot.
12. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites?
Any go-to sources for colour inspiration? Colour is vital – I play with it nonstop – I am self taught so things like colour theory aren’t lodged in my brain, so I have to learn through trial and error. I love mixing muted tones with vibrant dashes in my paintings. Go to sources for colour inspiration comes from my old botanical books which are mostly from National Trust second hand book shops and a treasure trove for inspiration.
Perspectives and goals
13. What role does your environment play in shaping your creativity?
I live in the Somerset countryside and watch the seasons changing day by day – I get so much out of being in my garden, identifying plants when out on walks, observing the sky and the birds – for me its all about soaking up and watching.
14. What do you want people to feel when they experience your work?
I want them to feel their dopamine levels rise, and their hearts and minds to feel happy and joyful!
15. What are you currently working on, and what excites you most about it?
I am working on a collection for Maison Flaneur, as well as some collaborations with some lovely brands – I really love collaborative work as it makes me feel like part of team which is important amongst all the days working alone in my studio.
Advice and reflection
16. What advice would you give to someone starting out as a maker?
Keep going – move forward, research, connect with fellow makers, be nice and own your mistakes.
17. If you could go back to the start of your career, what advice would you give your younger self?
To be kind to myself and have more self belief!
Closing thoughts
18. If you could collaborate with any artist, past or present, who would it be and why?
I would collaborate with Alida Withoos – she painted in 1600’s but her work feels modern somehow – its magical
19. Where can people find your work, and how can they support you?
I am on instagram, I have a website (which I’m a trying to learn how to use!) and I also sell my work in Liberty London – when I have drops, I update my instagram with all details as to where it will be available from so my advice is to follow me there!
Support Polly by browsing her soft-hued collections, discovering the tactile charm of her hand-framed florals, and following her journey as she continues to blend fabric, paint, and nature into something quietly extraordinary.
Explore Polly’s latest collection and follow her creative journey:
Meet the Maker: Helen Wilde and the Art of Textured Design
Blurring the lines between nature and fantasy, Helen Wilde creates richly layered textile artworks that burst with texture, movement, and colour. A Decorative Arts graduate and leading voice in modern embroidery, Helen transforms paper, fabric, yarn, and silk into enchanting botanical dreamscapes and tactile wildlife scenes.
Her evolving palettes mimic the seasons, while her innovative use of humble stitches, 3D forms, ceramic elements and painterly detail elevate each piece into something truly extraordinary. With work exhibited across the U.S. and collected around the world, from Elle Decoration features to The Dorchester’s walls, Helen continues to reimagine what fibre art can be.
1. Can you tell us a bit about yourself and your artistic journey?
I am a multidisciplinary artist, based in Derbyshire, my art is predominately led by embroidery but takes many forms, from textiles to paper and more recently ceramics & is inspired by my career so far, the places I’ve been and the people whom I have been lucky enough to work with such as Daniel Hanson, Vivienne Westwood and Tom Phillips.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
My family have always been very creative with an emphasis on traditional craft, being encouraged to pursue a handmade craft was nurtured from an early age and was encouraged even more during my degree – all based around traditional craft and practices.
Your craft
3. How would you describe your work in three words?
Textural, imaginative, evolving.
4. What materials or techniques do you use, and why are they important to your process?
I predominantly use embroidery, whether it be textile or paper based. The techniques are a combination of traditional stitches and contemporary explorations. Thus creating the forms and textures so featured within my collections.
Can you tell us about a favourite piece you’ve created and the story behind it?
One of my favourite season collections was a series of paper embroideries based around the gardens of Derek Jarman’s ‘Prospect Cottage’ – we spent a wonderful Summer in Dungeness, a true escape and then these pieces influenced a collection commissioned by the ‘Dorchester Hotel’, Hyde Park. London.
Creative process
6. What does a typical day in your studio or workshop look like?
I always start with tea, a litre of tea must be consumed. My studio is in the centre of my home, a 300 year old cottage that dictates where I will work during the day – in the Summer I’ll work outside, the Winter by the fire.
7. Do you have any unique rituals or habits that help you stay creative?
I have several folders with hundreds of images I have taken during my travels, whether these be sea shells and coral reefs, the gardens of Derek Jarman, or studies of seashells – every few weeks I’ll decide on my new direction by looking through these images & seeing what catches my eye.
Challenges and successes
8. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Deadlines I find increasingly difficult within commercial projects – not sleeping helps.
9. What’s been your proudest moment or achievement so far?
Being commissioned by the ‘Dorchester Hotel’ to create a collection of work for their new hotel suites. A legacy collection that will hang there for possibly longer than my lifetime.
10. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
“An ambassador for modern day embroidery”
– Elle Decoration
Inspiration
11. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Currently and more often than not, the ocean, coral reefs and seashells.
12. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
There are many people that I admire for their use of colour, texture and form. People like Geoffrey Bawa, for his approach to his practice, Tom Phillips for his use of colour, texture and experimentation and Jacques Cousteau for his exploration of the ocean are people I find myself returning to.
13. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour plays an enormous role, normally influenced by the natural environment – the blues and greens of the ocean which then influences every aspect of my life – including my home.
Perspectives and goals
14. What role does your environment play in shaping your creativity?
I like to surround myself by the themes I’m passionate about, unfortunately not living near the ocean means I have a wonderful collection of seashells.
15. What do you want people to feel when they experience your work?
Escapism.
16. What are you currently working on, and what excites you most about it?
A collection for a gallery based on the Scilly Isles – think rock pools, which I adore.
Advice and reflection
17. What advice would you give to someone starting out as a maker?
Try everything and anything, everything is practice.
18. If you could go back to the start of your career, what advice would you give your younger self?
Believe in yourself and your half way there.
Closing thoughts
19. If you could collaborate with any artist, past or present, who would it be and why?
Not necessarily and artist, but a movement. The Bauhaus – traditional methods, contemporary practice – heaven!
20. Where can people find your work, and how can they support you?
My own website, ovobloom.com
Waterside Gallery, St Mawes.
Bryher Gallery, Bryher, Isle of Scilly
Nahcotta Gallery, USA
Helen Wilde’s textile artworks blur the line between the real and the imagined, transforming natural inspiration into vibrant, multi-dimensional pieces. From delicate stitches to bold painterly textures, each creation reflects her unique vision where botanical beauty, colour, and craftsmanship meet. With an ever-evolving palette and a deeply intuitive approach to materials, Helen invites us to see embroidery not just as a technique, but as a richly expressive art form.
Explore Helen’s latest collections and follow her creative journey:
Support Helen by exploring her vivid, nature-inspired world online, discovering her sculptural fibre pieces, and following her artistic journey as she continues to stitch new stories with imagination and care.
Meet the Maker: The Painted Stories of Ruth Ley and Ley Lines
In this Q&A, we chat with artist Ruth Ley, the creative force behind Ley Lines, a collection of hand-painted works that celebrate place, memory, and meaningful connection. Working from her studio in West Cornwall, Ruth draws inspiration from the landscape around her, often painting using flowers from her garden or natural objects found on coastal walks. Her pieces are personal, playful, and rooted in sentiment, whether it’s capturing a honeymoon fish or a beloved wedding bouquet. Ruth shares how storytelling shapes her practice, the joy of turning found objects into heirlooms, and why colour, character and sustainability sit at the heart of every Ley Lines creation.
1. Can you tell us a bit about yourself and your artistic journey?
Creating art was always my main ambition. I studied a Foundation Year in Art and Design at Falmouth, but after facing a loss of confidence, I went down a different route – eventually finding my way into Art Direction for video production as a career. After returning to Cornwall with my young family, I rediscovered my artistic practice and started sharing my work online. To my surprise (and gratitude!), it quickly gained traction. I’m incredibly thankful to now be making work that I’m truly proud of.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
I definitely think that returning to Cornwall, being surrounded by nature, reminded me of what I had lost. The desire to be recognised both as an artist and as an individual – especially after having children – has really propelled me forward. I’m inspired to create pieces that are not only unique but also accessible, where possible, ensuring that original art is something everyone can appreciate and enjoy.
Your craft
3. How would you describe your work in three words?
Hand-printed, Joyful, Colourful
4. What materials or techniques do you use, and why are they important to your process?
Treading lightly on the earth is at the heart of my process. Our fabrics are sourced from a European mill powered by green energy. Our dyes are hand mixed and water based. Screen printing allows me to oversee the whole print process.
I love printing my fabrics by hand because I can make beautiful things locally. Screen printed fabrics are imperfect, unique and each separate piece tells its own story
5. Can you tell us about a favourite piece you’ve created and the story behind it?
A lovely project we recently worked on was decorating a Somerset yurt. Alice and I had a simple mission, not to buy anything new. We screen printed on old table cloths and covered the yurt walls with patterns. It was such a joy to create something from reclaimed materials and transform old fabrics with print.
Creative process
6. What does a typical day in your studio or workshop look like?
My dream day would look like this – coffee, moving my body – either pilates or a good walk, looking for inspiration in my garden or buying flowers locally, painting or drawing, a delicious lunch, more painting, spending time with my family and friends – ideally outside on a beach – and then dinner.
7. Do you have any unique rituals or habits that help you stay creative?
I’m currently short on time because of having young children, and it feels like my mind is fizzing with ideas that I just can’t get to. However, I’ve found that the limited time I have actually sparks my creativity. Having a set window to work in helps me stay focused and productive, as it pushes me to make the most of the time I do have, instead of getting stuck in procrastination (doom scrolling!).
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
A cliche, but getting outside into nature always helps me to stay inspired.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
I definitely agree with the saying ‘comparison is the thief of joy’. As soon as you start of compare your abilities or achievements to others, it can start to make you lack confidence. This is what happened on my Foundation year – I was surrounded by brilliant artists and completely lost sight of my personal offering. Putting yourself out there is so scary, but to be honest, i’ve found that the rewards are almost always worth it.
10. What’s been your proudest moment or achievement so far?
I don’t mean this to sound terribly commercial, but I think the first time someone bought a piece! It was honestly such a vote of confidence, that it really drove me to keep on making work and developing my style.
Another very cool moment was when a celebrity couple, who I really admire for their personal style, bought two of my paintings from a pop up (thanks to the shop Quinn Says!).
Inspiration
11. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
I live in remote Cornwall and am very inspired by nature and the seasons.
12. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I absolutely love the paintings of Olive Guest – her use of colour and form are incredible.
I’m so inspired by a lot of the other makers on Makers Made too, across all of the disciplines. I love to see how people are working with their chosen mediums and constantly evolving to create works which are profound or inspiring or beautiful (or all of those things!).
13. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
I also love that my pieces are generally quite bright, colourful and stylistic. There seems to be this miscommunication that ‘natural’ or ‘environmental’ means white or pared back. Nature is awash with colour and I want to embrace that and help people bring pops of colour into their homes (even if they prefer a pared back aesthetic generally).
Perspectives and goals
14. What role does your environment play in shaping your creativity?
I’m incredibly inspired by where I live and also the current period in my life. I’m inspired by the colours of the shells on the beach or the flowers in my garden, how my children draw, what colours they currently like… The seasons really affect my work – throughout this winter I have been drawn to much darker, richer hues and now that spring is around the corner, I’m suddenly reaching for much bolder brighter paints.
In terms of the bigger environmental picture, I try to be as sustainable as I can. The frames I use for my ‘ink+frame’ collection, are all preloved, so not only is each one unique but also getting a new lease of life.
15. What do you want people to feel when they experience your work?
I want people to feel excited by my work – i aim to create pieces which are desirable for interior spaces, but are also sentimental – I love to create works which will be treasured and loved. So much time and energy goes into creating each piece, even the tiny ones, that I really want that love to be reflected in the final pieces.
16. What are you currently working on, and what excites you most about it?
I’m currently in the process of hopefully moving into a larger studio space, so can’t wait to have the space to produce some much larger pieces. I can’t wait to see how my style translates to these larger scale pieces.
Advice and reflection
17. What advice would you give to someone starting out as a maker?
Back yourself and stay true to your own style.
18. If you could go back to the start of your career, what advice would you give your younger self?
Be more confident in what you have to offer – your people will find you!
Closing thoughts
19. If you could collaborate with any artist, past or present, who would it be and why?
I absolutely love the work of Sandra Blow – I’d love to have met and worked alongside her – her works are so striking. I’m also so drawn to the beautiful forms of Barbara Hepworth and she sounded like a strong character, so I would have loved to see her working.
20. Where can people find your work, and how can they support you?
My website is ley-lines.co.uk or you can see my work on instagram. Thanks so much for featuring my work.
Ruth Ley’s pieces are a celebration of colour, memory, and individuality. Whether it’s a personal commission or a ready-made piece, each artwork carries a sense of story and place created to bring character and emotion into the everyday. With a playful yet thoughtful approach to materials and meaning, Ruth invites us to decorate with pieces that truly feel like our own.
Explore Ruth’s latest collections and follow her creative journey:
Support Ruth by visiting the Ley Lines website, exploring her hand-painted, heirloom-inspired pieces, and following the colourful, sentimental journey of her West Cornwall studio on Instagram.
Meet the Maker: The Jazzy, Expressive World of Grace Percival
From her early love of fashion and textiles to collaborating with renowned brands, Grace Percival’s creative journey has been colourful, spontaneous, and filled with playful expression. With inspirations ranging from antique ceramics to bustling wine bars, her artwork captures everyday charm in a uniquely vibrant style. Here, Grace shares insights into her creative habits, her passion for vivid colours, and why coffee and tiny brushes are essential to her process.
1. Can you tell us a bit about yourself and your artistic journey?
After studying fashion and textiles I thought I wanted to work in Bridal wear, this however, was short lived.
I then went on to search for a new route but wasn’t sure what I wanted to do. I came across an advert on a job site – on reflection, a very cheesy advert – for an internship that asked, “Do you love painting? Do you love drawing?” I decided I did love both of those things so took a shot.
After interning for a couple of solid years, I became a print designer selling to multiple different brands, before going freelance and working for a bunch of studios which I still do now.
Ultimately though, I love creating my own pieces which I started fairly recently. I really like the freedom and complete control: It’s great. I found it a bit daunting at the beginning but really sometimes you just need to start.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
Has to be my dad, he is amazing at all things creative. He’s always been my biggest influence.
Your craft
3. How would you describe your work in three words?
Playful, vibrant and jazzy.
4. What materials or techniques do you use, and why are they important to your process?
Gouache paints, torn paper and the worlds smallest brushes.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
‘Pat’s Chair’ it was the first big piece I created on canvas. The story behind it, I have a weird obsession with` chairs and leopard print so I combined the two.
Creative process
7. Do you have any unique rituals or habits that help you stay creative?
It’s always difficult to pin point the exact spark of inspiration but I tend to fill my time with these habits – looking at interiors is a real hobby (old or new)/flowers and florists take up a bit of my time/ annoying to admit but instagram is almost always quite a big muse.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Coffee, lots of it.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Comparing myself to other artists. I am still learning how to overcome this.
10. What’s been your proudest moment or achievement so far?
I have done a collection of my designs on t – shirts with Topshop, this was a huge moment.
11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
“Grace’s paintings effortlessly exude such charisma, with their painterly appearance and confident but loose line work.”
- MILIEU STUDIOS
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
I’m currently obsessed with still lives. These always include ceramics, window shopping for vases is my favourite pastime. Wine bars are pretty much a constant, not necessarily for the reason you think. I like the table layouts, glasses, flowers, bottles and table cloths; they are usually ever changing too, so a constant source of inspiration, from the bottle branding to the bud vases on the tables.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
Kate Boxer, every time. Her work is unlike anyone else’s and she uses techniques I’ve never seen before.
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Choosing a colour palette is my favourite part, my phone is filled of screenshots. I always start with a rough sketch on my computer, then I can play around with the colours as much as I like. That way when it comes to painting I’m already confident my palette.
Perspectives and goals
16. What do you want people to feel when they experience your work?
My work is always very vibrant and playful, I like to think it brings a bit of fun to peoples homes.
17. What are you currently working on, and what excites you most about it?
I’m currently working on some large pieces that will be framed and painted in my classic colourful stripes. These are particular exciting as they incorporate lots of my favourite things; leopards, antiques and florals. They are jazzy.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Paint what you enjoy, not what you think others will like.
19. If you could go back to the start of your career, what advice would you give your younger self?
Keep slogging on, someone will buy something eventually.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
Has to be Hockney for me. I’ve always been a massive fun of how unique his work is, he has such original ideas.
21. Where can people find your work, and how can they support you?
They can find me at: www.gracepercivaldesign.co.uk
Explore Grace’s latest collections and follow her creative journey:
Support Grace by visiting her online shop, experiencing her creations at select boutiques, and following along as she continues to bring joyful creations into the world.
Meet the Maker: The Vibrant, Nature-Inspired Artistry of Frances Costelloe
We had the pleasure of chatting with Frances Costelloe, a self-taught artist whose vibrant and free-spirited drawings capture the essence of nature and everyday moments. Frances shares insights about her artistic upbringing, her love for quick, intuitive mediums like pastel, and the joyful spontaneity she brings to each piece. From her cherished tulip series to collaborations with esteemed brands, Frances offers an intimate glimpse into her creative world and the joy she finds in capturing life’s fleeting moments.
1. Can you tell us a bit about yourself and your artistic journey?
I always thought I would be an artist when I was younger as both of my grandparents were and I come from a creative family. I am self taught as I took a detour in the form of a politics degree however I had a great grounding at secondary school painting with oils whilst looking across the skyline of London. The city has always inspired me as there is something special about the light in the capital.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
Art was one of the few things I was really good at as a child when I didn’t find the rest of school that easy. I have always enjoyed the act of drawing and my practice across a variety of mediums always comes down to that.
Your craft
3. How would you describe your work in three words?
Playful, free, born in nature.
4. What materials or techniques do you use, and why are they important to your process?
I like quick work. The idea of laboured work for me is not appealing. I love the speed of pastels and the simple colour play that can be achieved with the highly pigmented sticks. Lime has also been important to my work as it helps my drawings flow.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
I love all my tulip works. I have a large catalogue of photos on my phone and draw these on repeat. Often I change all the colours but keep the basic shapes on a favourite composition the same.
Creative process
6. What does a typical day in your studio or workshop look like?
I only work on my art part time. It usually involves large cups of english breakfast tea in cornishware mugs, making marks on big pieces of paper and my face smudged with pastel as I rush out the door to collect my kids.
7. Do you have any unique rituals or habits that help you stay creative?
Gallery visits- although this has not been a priority recently as I have been trying to focus on good health habits.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Make multiples and toss a lot out. Some gold will shine through.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Trying to paint extremely large portraits of the staff of a hotel in Mozambique while extremely pregnant so I couldn’t properly reach the top of the paper on my drawing board.
10. What’s been your proudest moment or achievement so far?
Getting into Liberty less than 5 months after launching my brand which I started while my son was 6 months.
Inspiration
11. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Always Van Gogh.
12. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I love Matisse and Van Gogh. I am obsessed with colour and they are masters. I also love Tracy Emin and think she is superb at painting the figure.
13. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour is very important – it’s more about a feeling, an energy a vibration. I don’t have rules.
Perspectives and goals
14. What role does your environment play in shaping your creativity?
A pretty large role. I take a lot of photos and these inform my practice. I am often trying to sum up a feeling from a meeting, a meal, a still life. Capturing the energeticness of life in a single frame of a picture.
15. What are you currently working on, and what excites you most about it?
Two collaborations with brands I respect. They will both mean I have to cover new ground and explore new mediums and surfaces.
Advice and reflection
16. What advice would you give to someone starting out as a maker?
Have another job too!
17. If you could go back to the start of your career, what advice would you give your younger self?
Trust yourself, do what makes you feel good.
Closing thoughts
18. If you could collaborate with any artist, past or present, who would it be and why?
I would love to glaze more ceramics. I would love to go to Picasso’s studio and create a collection of bowls and plates and jugs..
Frances Costelloe’s work brings spontaneity and rich colour inspired by nature, everyday moments, and the vibrant energy of life.
Explore Frances’ creations at:
Meet the Maker: The Playful, Joyful Pottery of Kate Sellers
In this Q&A, we speak with Kate Sellers, the founder of K.S. Creative Pottery, about her journey from visual merchandising and prop styling to discovering pottery as a deeply therapeutic and joyful creative practice. Kate shares how personal challenges sparked her pottery passion, leading to success and collaboration with prestigious brands like Liberty. She offers insights into her creative rituals, the influences behind her playful designs, and the importance of finding balance and joy in her work.
1. Can you tell us a bit about yourself and your artistic journey?
My name is Kate and I am the founder of K S Creative pottery. I am a multi disciplinary creative working as a Prop and Set stylist, with a career in Visual merchandising for various fashion brands.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
My friends gifted me a weekend workshop at the Kiln rooms. I was living in London and after losing my Dad and going through a break up life was a bit bleak. I did a degree in Decorative arts and I hadn’t realised how much I had missed making with my hands. I found the course extremely therapeutic and I was totally hooked. My teacher at the time realised that I had an immediate affinity with throwing and offered me a space at her studio where I could just sit and throw. It was wonderful and became the highlight of my week.
When I moved back home to Kent a few years later it was finding a studio where I could continue to make that was the priority. Then lockdown hit, Eunice who runs my new studio realised that I would need to continue to make so kindly offered me a wheel to borrow, I placed it in the tiny shed in the garden and began to make daily. Photo shoots and commercial work shut down so I channeled all my energy into photographing what I had been making and started to build a following on Instagram. This led to me catching the attention of the buyers at Liberty and my pottery brand was launched the following summer with an exclusive collection that sold out.
Your craft
3. How would you describe your work in three words?
Unique, playful, small-batch
4. What materials or techniques do you use, and why are they important to your process?
I throw on the wheel and Hand build using Staffordshire white stoneware. Decorating in coloured slips and simple glazes, sometimes finishing my pieces with a cobalt oxide hand painted design.
I enjoy hand finishing my pieces, often not planning out my design prior to painting. I love that each piece is completely unique.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
I really enjoy working on a larger scale and a huge round platter I made recently is a current favourite. I am also very fond of my Isolation face collection, fun and playful in bright colours that spark joy.
Creative process
6. What does a typical day in your studio or workshop look like?
I start my day in the studio with a nice coffee from the cafe next door. I write a to do list on the board and get my clay prepared for the day. Weighing out and wedging clay ready to be thrown or rolling out clay if I am planning to hand build.
I save all my admin work for home as I have to fully focus whilst making otherwise things go wrong. I listen to Guy Garvey or a good podcast and get into the zone, making away until it is dark or I’m hungry!
7. Do you have any unique rituals or habits that help you stay creative?
I love to look through old magazines and as much as I love going to exhibitions I don’t do it nearly as much as I should. Instagram and pinterest are great starting points for a creative boost but I often go down rabbit holes started off by pinterest ending somewhere really interesting.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
I try to allow myself to step away if I am feeling blocked. Take time out to read, travel, talk to friends and go to the seaside. This always revives me.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
I think my biggest challenge came from my biggest success. I received my first wholesale order from Liberty for over 600 pieces and they needed to be delivered within 4 months. Everything was handmade and painted. Two kilns failed in the process meaning I lost around 60 plates and caused a big repair bill for the kiln.
10. What’s been your proudest moment or achievement so far?
Getting my first wholesale order from Liberty for a debut collection of limited Isolation face plates that sold out.
11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
"KS Creative Pottery's unique Isolation Face Plates are a cult tableware item”
- LIBERTY
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
All around me I would say, I love the sea living near the Kent coast and I love to travel. I have been visiting Sicily for 23 years and I find the heritage for artisanal pottery very inspiring. I love to visit different villages to see how their style and use of colour varies. I collect pieces that I bring home and refer back to.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
As well as Sicilian artisan pottery I am very intrigued by artist movements and groups. I am drawn to the colours and geometry of The Bauhaus movement and the freedom and expression Charleston/ The Bloomsbury group.
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
I am so inspired by colour and very drawn to unusual colour combinations. I dress predominantly in black or blue but love to explore colour within my work and find it makes my pieces joyful. I love a sludgy olive green with a lemon yellow and a soft pink. I find the book ‘ A Dictionary of Color Combinations’ a great source. I would say my palette is unique and inspired by holidays and the seaside. Stripes have always been in my life and I was called stripey Kate at university. I love to use bright but soft colours in my Duci stripes, trying to toe a line between playful and sophisticated.
Perspectives and goals
15. What role does your environment play in shaping your creativity?
I live in the Kent countryside and not far from the sea so the environment around me really plays a big part in my creativity. I am inspired by the colours of the land and space around my home and studio. I find a walk along the sea shore or even my drive through the high bush lined country lanes to the studio really give me the space to think and to create.
16. What do you want people to feel when they experience your work?
I hope that my pieces spark joy and that they add interest to peoples homes. Making you smile in your day to day moments.
17. What are you currently working on, and what excites you most about it?
I am very pleased to be working on a new collection for The Courtard Museum gallery and a collection of Fish for the National Gallery. I am also working on developing my workshops and possibly doing my first retreat this year.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Always make pieces that you love and that you enjoy making.
19. If you could go back to the start of your career, what advice would you give your younger self?
I have had a really varied career and I have thoroughly enjoyed my work, generally working with really nice people who are great at what they do. I think that the only advice I would give is do what you love and start making/ working with clay a lot sooner, as I have found it so cathartic and is probably the calm I needed when I was younger.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
I would love to have worked in the pottery at Charleston with Vanessa Bell and Duncan Grant, or have been part of the Bauhaus. I would also have loved to have collaborated with Barbara Hepworth or Picasso. But in terms of today I would love to work with artist Rosie Harbottle, I am taking a painting course with Rosie in April and I can’t wait to explore paint and oil pastels with her. I love her style and hope to start to produce work on paper as well as in clay.
21. Where can people find your work, and how can they support you?
I have a website where you can shop directly with me – kscreativepottery.com
Or my work is available in a The Courtard museum shop and handful of small local boutiques:
The Courtard Museum – Somerset house London
Lamp London Home – Peckham Rye
Aime – Ledbury rd London
Rae Lifestyle – Rye
Kate Sellers’ ceramic designs are vibrant and uplifting, intended to bring joy to everyday moments. Influenced by the seaside landscapes of Kent and artisanal traditions of Sicily, her pottery adds warmth, character, and a touch of playful elegance to any home.
Explore Kate’s latest collections and follow her creative journey:
Support Kate by visiting her online shop, experiencing her creations at select boutiques, and following along as she continues to bring joyful pottery into the world.
Meet the Maker: Ruby Bateman's Timeless, Heartfelt Creations.
In this Q&A, we speak with artist Ruby Bateman about her lifelong artistic journey—from childhood creativity at the kitchen table to studying at the Royal College London, and now working from her cosy studio in Devon. Ruby shares insights into her intuitive creative process, the emotional narratives woven through her paintings, and how ancient histories, myths, and folk culture deeply inspire her work. She discusses the joy of collaboration and the importance of authenticity in the artistic journey
1. Can you tell us a bit about yourself and your artistic journey?
My artistic journey started at the kitchen table around age four; making mechanical dolphins out of card and computers out of cereal boxes, eventually leading me to study a print at Brighton, and then a Masters at the Royal College London. Now you can find me at my home studio in Devon, painting and drawing which I love best.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
It has always been an intuition of mine, something that has not felt like a choice. I remember saying aged five that I wanted to be an artist and a mummy, and I still stand by that.
Your craft
3. How would you describe your work in three words?
Swirly. heartfelt. old-worldy
4. What materials or techniques do you use, and why are they important to your process?
I’d ideally like to paint in oil, but I’m so sensitive to smells I can’t stand it! To compromise I’ve tried to make my acrylic paintings as ‘liquid’ and gestural as possible. It’s dryness does appeal to my impatient side, and I do quite like how immediate it is to use.
Every single work starts out with a pencil drawing, so that has always been at the heart of my process, whether it be an indian ink drawing on cartridge paper or acrylic painting on cotton canvas.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
A favourite work of mine is ‘Many Have Walked But Not in Your Shoes’ acrylic on canvas triptych. This large two piece was the show stopper at my solo exhibition ‘PASSAGE’ at Haricot Gallery in 2023. It’s about pilgrimage; the transformational act of walking and paying reverence to a place. As Satish Kumar suggests, if we walk more like pilgrims on this Earth rather than tourists (self-serving and looking to find things to consume), we might have a richer, healthier planet and inner self. This painting marks the places I hope to visit around the UK, my birthplace and heritage, which I hope to pilgrimage to one day.
Creative process
6. What does a typical day in your studio or workshop look like?
My art making is cosy and domestic, with frequent trips to the kitchen for tea and snacks! I will wake up and get straight to work in my home studio, and will enjoy a 9-5 working day, suiting my morning personality. I will always be listening to something, Radio 4, podcasts, music. It’s wide ranging to hold me through a variety of moods and more often than not challenging scenarios in the studio.
7. Do you have any unique rituals or habits that help you stay creative?
I have a very large pinterest board which I save all my drawings references to. I love to draw from classical statues, old masters paintings and turn of the century black and white photographs.
A stick of palo santo or copal will usually be burning which grounds and inspires me, with continuous tea throughout the day.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
I will always just try to make something. Perseverance and showing up for the work is integral, even if I don’t feel like making. I still haven’t figured out the secret to making a piece of work I like, it can suddenly come about when I am exhausted and stressed after trying for ages and not being in the mood. Or it can come when I am relaxed, ready and in flow. It’s this cosmic comedy I live with, so I just have to show up and see what happens!
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Expectation and reality are always a challenge for me. The painting I expect will come out, verses the painting which actually emerges. I essentially don’t have the control I think I do which creates tension. Ink drawing for me is easier, it is like playing an instrument, but painting is the true challenge, it is like conducting an orchestra. There is so much to balance and lose control of. I always chuckle to myself when I go to create a series of work in the same colour scheme, as I find it impossible to mix the same colour twice, so each work will insist on coming out exactly as it is regardless of the effort I put it to manipulate it elsewhere. It is a process of acceptance, which I might always be working through.
10. What’s been your proudest moment or achievement so far?
All my solo shows have been a gift to me, a validation that my work matters to someone. You spend all your days alone, creating, in this echo chamber of yourself, unable to actually see the work for what it is. When a gallery come along and chooses YOUR things, it is the greatest catharsis. It says that people are ready and interested in what you’ve been doing and your particular perspective and expression. The job that you do that bewilders most people actually exists for a moment in the ‘real world’.
Inspiration
11. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
I’ve always loved old worlds, ancient Rome/Greece, the Medieval, Georgian and Victorian England, myths, folklore and legends. I’m hardwired to live in these places, so my creativity naturally springs from there. Some shout outs to William Blake, Weird Walk magazine, Dr Martin Shaw, the Bloomsbury Group Artists, The Bible of British Taste, Julia Maragret Cameron, Luke Edward Hall and Faye Weiwei.
Engaging with nature, old landmarks, ancient stones, cathedrals, moorlands, churches, castles, National Trust homes, walkways, bridlepaths, ancient (rainforests) woodland, ceremonies, rituals, plant magic and old stories connect me to a deeper creative consciousness and open heartedness.
12. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
Around age 17 I discovered Frida Kahlo, who imprinted narrative, introspection and the soulfulness of being a woman (artist) onto me. I felt very close to her and still do. I managed to visit her homes in Mexico last summer in 2024, which was a wonderful pilgrimage for my old artist self. Shortly after came William Blake, another soul shaker, who’s ecstatic relationship to art making and his own uniqueness was deeply magical.
13. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Red is my spirit colour, so I will generally stick to that tonality. I love looking at Charleston House Bloomsbury Group artists for colour inspiration and William Blake’s coloured prints. I will tend to mix brown into most my colours as I prefer a more muted range, something slightly more natural.
Perspectives and goals
14. What role does your environment play in shaping your creativity?
Where I live in Devon, we are experiencing a rich revival of folk culture which has been highly influential in my work. Local writers, makers, galleries and musicians are connecting to our old heritage and stories. In recent works I’ve been creating drawings based off retellings of myths and folktales from local writers, I’ve loved connecting to their work in this way.
15. What do you want people to feel when they experience your work?
To experience beauty and rest within my some of my images, and in others ask questions around our connection to this world, where do we come from, what is our true nature and how can we create a more peaceful intuitive life (together).
16. What are you currently working on, and what excites you most about it?
As mentioned previously, I’m making work based off local writer’s myths and legends, but also interested in origin stories. The stories we tell ourselves, the stories that live in our bodies and the stories we have inherited through generational trauma. How do we honour these and transform them.
Advice and reflection
17. What advice would you give to someone starting out as a maker?
The work always should come first. Instead of worrying about which gallery to exhibit in or how to exhibit your work, make the work steadily and be an artist. All the rest will follow in due course.
18. If you could go back to the start of your career, what advice would you give your younger self?
Connect to the way you started out with painting and drawing, not what you think is fashionable or what people want to see.
Closing thoughts
19. If you could collaborate with any artist, past or present, who would it be and why?
I’d love to collaborate with Kate Bush and do an installation of artwork and music together! I think her songwriting shows how much she reads, her brilliant enquiring mind and emotional depth. To make work in collaboration her stories and unique vision would be phenomenal!
20. Where can people find your work, and how can they support you?
Contacting me directly for commissions and sales is always a massive help! You can find me through Makers Made, my website rubybateman.com and giving me a follow on instagram @ruby__bateman
Ruby Bateman’s art beautifully blends introspection, mythology, and a rich sense of heritage, expressed through swirling lines, heartfelt narratives, and evocative colours. Her creations invite viewers to find both rest and reflection, connecting deeply with timeless themes and stories.
Explore Ruby’s latest collections and follow her creative journey:
Discover Ruby’s Work:
Support Ruby by reaching out directly for commissions, following her artistic adventures on Instagram, and engaging with her captivating creations through Makers Made.
Meet the Maker: The Bold, Colourful World of Emily Forgot
In this Q&A, we talk with Emily Forgot about her journey from commercial illustration to creating her distinctive artworks and assemblages.
Emily shares her insights on balancing commissioned projects with personal creations, the materials that drive her practice, and how architectural influences shape her bold and colourful aesthetic.
We also delve into her experiences overcoming creative challenges, finding inspiration in history and design movements, and her advice on navigating life as a creative professional.
1. Can you tell us a bit about yourself and your artistic journey?
I started my creative career working as a commercial illustrator. I still do work with clients on collaborative projects but creating my own pieces both commissioned, for galleries and for my online shop has become a larger part of my practice over time.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
Its been an evolving process, and in many ways I feel the pursuit of my craft is often shifting. I definitely decided to work on more personal projects as I craved the freedom to direct my own output without commercial restraints. I enjoy the balance though of working to a brief set by a client and my own endeavours.
Your craft
3. How would you describe your work in three words?
Bold, colourful, architectural
4. What materials or techniques do you use, and why are they important to your process?
I’ve started using a lot of found papers in my collage work, I like how it adds a neutral tone to my overall colour palette but these found papers also give the pieces a lovely tactile quality. I also use wood in my assemblage pieces, usually poplar or ply when painted but I’m excited to explore more raw wood pieces using oak and cherry in the future. I love the robustness of working with wood.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
I recently completed a commission in a building that used to be a newspaper head quarters . I was inspired by the negative spaces of letterpress type blocks for the graphic shapes in the piece. I like when there is a hidden link or narrative in the artwork. That the viewer can see what they wish to but I know as the maker how the forms and the shapes developed. I love looking at the history of a building or site to find a cue about how to develop a piece of work.
Creative process
6. What does a typical day in your studio or workshop look like?
I try to get admin tasks done first thing so I can focus on the creative side of my business. Its lovely to have a few projects at different stages all running at the same time so I can be really productive. As one piece might be drying , I can start designing another, or exploring what colour palette I might use for the next piece and making sketches. I tend to use the late afternoon to do any packing or more mindless activities as its when my focus can begin to dwindle.
7. Do you have any unique rituals or habits that help you stay creative?
Forcing myself to take a brisk walk always seems to help with my creativity.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
I think going to the library can be very helpful or just thumbing through some of my own books. I have a nice collection of vintage books and magazines in the studio. They explore different periods in art and design as well as different creative disciplines from architecture to fashion, fine art, graphic design and interiors. I’m usually guaranteed to find something that might spark an idea or find a new direction to get excited about.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
I think its often about construction, finding new ways to do something with any limitations that might be presented. and finding collaborators that care as much as you do about the final outcome can sometimes be a little tricky.
10. What’s been your proudest moment or achievement so far?
Many of them happened in a year I got totally burnt out so couldn’t enjoy them fully. Looking back Selling limited edition work in the V&A designed and inspired by the building felt like a great ‘pat on the back’ moment and having my home and work featured in my favourite magazine ‘World of interiors’ was a bit of a pinch me moment. But as i said the burn out has really made me re-assess the meaning of success and how I frame achievement.
11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?
“Thats cool” – About one of my rugs I put on the landing at home – my 3 year old son : )
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
I know it may sound cheesy but i really do draw inspiration from everywhere. I think it is this combination of multiple influences colliding with your own sensibility that makes your work truly your own and gives it that element of originality that we all crave as creative people.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
Its a real cacophony and changes often as I make new discoveries. I’ve loved revisiting the vibrant works of Sonia Delaunay lately, particularly her textiles and I got a great book on the Wiener Werkstätte recently. In terms of movements I love design movements that touched all areas of creativity from weaving to woodwork.
The Bauhaus, of course, being a perfect example of this multi disciplinary approach. I love early modernism but equally love to dip my toe in the less serious and more playful movements like Memphis of the 1980’s. I’m just excited to be a fan of it all and how it influences me often comes secondarily.
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
Colour is a huge part in what makes my work unique to me. I love how intuitive building colour palettes can be. I don’t have a particular signature palette but the colours are often vibrant but with a little bit of earthiness to ground them. I often limit my palette too so usually no more than 3-4 colours. There is a great Japanese book on colour palettes that are extracted from kimonos that I love www.waterstones.com. Its a great resource if you are feeling like you need some guidance. I also love looking at fashion designers too and my own palettes are often led by the seasons.
"Thats cool"
— About one of my rugs I put on the landing at home. (my 3 year old son)
Perspectives and goals
15. What role does your environment play in shaping your creativity?
I think it plays a big role … just the right amount of mess, too much and its overwhelming.
16. What do you want people to feel when they experience your work?
Happy, energised, inspired …hopefully.
17. What are you currently working on, and what excites you most about it?
I’m working on some large scale commissions, both collage and wooden assemblages. Both are in the research stages and need to be inspired by the site they will be displayed so I’m in my favourite stage, exploring colour, shapes and architecture and making initial sketches.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Spend some time trying to figure out where your true passion and interest lies and don’t put too much pressure on the objects you make being your sole source of income at the start . I still have a few different ways that I make a living within the creative Industry and a large part of this is commissioned projects with set briefs. This excites me in different way to my more personal work but I think the self initiated creations would suffer if I relied solely on them to make ends meet.
19. If you could go back to the start of your career, what advice would you give your younger self?
I don’t know if i would offer any advice as think all the mistakes and wrong turns led me to where I am today. So perhaps it would just be, “You’re on the right path, keep going!” oh and also to trust my gut more, projects that even have a whiff of a red flag are usually going to be rife with issues.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
I would have loved to have been Eileen Gray’s apprentice. Because she was an innovative genius and what more do you need in a mentor! I’m not sure if many of the designers and artists i admire would have really been up for the idea of collaborating, their focus was very much on their personal vision but to be honest I would be happy to just make tea and observe.
21. Where can people find your work, and how can they support you?
I have a website emilyforgot.co.uk that shares my commissioned projects and also has a shop, emilyforgot.co.uk/shop, I sell pieces through the galleries Partnership Editions and M.A.H and rugs through Floor story. I also run a Substack called Soft fascination, where I share inspirations both past and present, becoming a paid subscriber is a lovely way to support my practice too.
Emily Forgot’s work is a joyful exploration of colour, form, and playful architectural references, blending found materials and bold shapes into striking, contemporary pieces. From collage art to wooden assemblages, her creations offer viewers moments of inspiration and delight.
Explore Emily’s latest collections and follow her creative journey:
Support Emily by subscribing to her Substack and exploring her beautiful pieces online.
Meet the Maker: The Layered, Tactile World of Megan Fatharly
1. Can you tell us a bit about yourself and your artistic journey?
I am a self-employed artist and maker working primarily with tin embossing, printmaking, and collage. My work explores themes of emotion, memory, and resilience, using tactile materials to create pieces that invite touch and reflection.
Over the years, I have had the opportunity to collaborate with institutions such as the V&A, The Body Shop, Net-a-Porter, the Natural History Museum, and Fortnum & Mason. My journey has been shaped by a deep love of making but also by the challenges of ADHD, perfectionism, and balancing creativity with business. I am constantly learning how to embrace experimentation and imperfection, allowing my work to evolve in a way that feels authentic.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
I’ve always been drawn to making things with my hands, but my love for working with tin and collage developed over time. There wasn’t a single defining moment—more a series of small realisations that creating was how I best processed the world. Seeing how my work resonated with others and how it could bring comfort or reflection reinforced my desire to keep going.
Your craft
3. How would you describe your work in three words?
Tactile, emotive, layered.
4. What materials or techniques do you use, and why are they important to your process?
I primarily work with embossed tin, printmaking, and collage. Tin allows me to create intricate, tactile surfaces that catch the light, while printmaking and collage introduce layers of meaning and texture. Collage is especially important to my process—it lets me assemble fragments, creating something new from what already exists. I love the way torn edges, overlapping textures, and unexpected compositions can communicate emotion in a quiet but powerful way.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
One of my favourite pieces is a small embossed tin work that reads What if it all goes right? It started as a personal mantra, a way of challenging my tendency to catastrophise. When I shared it, I realised how deeply it resonated with others. That phrase has since become a recurring motif in my work, reminding me—and those who collect my pieces—that hope is always an option.
Creative process
6. What does a typical day in your studio or workshop look like?
My studio days are varied, but they usually begin slowly. I struggle with transitions, so I ease into work by tidying my space or flicking through scraps of paper and materials for inspiration. Once I get started, I might spend hours embossing tin, cutting metal, layering collage elements, or working on prints. I often hyperfocus and lose track of time, so I try to build in breaks to reset my perspective.
7. Do you have any unique rituals or habits that help you stay creative?
I often start by playing with materials without a clear goal—moving bits of paper around, embossing a scrap of tin, or printing something imperfectly. This helps me loosen up and get into a creative flow. Listening to music or a podcast can also help shift my mindset.
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Creative blocks are difficult, especially when I feel pressured to produce work that will sell. When that happens, I return to making for myself—collaging with no intention of sharing, embossing something small just to feel the texture under my hands. Taking a walk, shifting materials, or reminding myself that not everything has to be “good” also helps.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Balancing the emotional and financial aspects of creative work. I often tie my self-worth to how well my shop is performing, which leads to burnout. Learning to separate my creative practice from external validation is an ongoing process, but breaking tasks down, giving myself permission to experiment, and allowing myself to rest has helped.
10. What’s been your proudest moment or achievement so far?
Collaborating with institutions and brands such as the V&A, The Body Shop, Net-a-Porter, the Natural History Museum, and Fortnum & Mason has been incredibly rewarding. These projects have allowed me to push my creative boundaries, work on a larger scale, and see my work in unexpected contexts. Beyond that, my proudest moments are often the smaller, more personal ones—seeing my work resonate with people, hearing how a piece has brought someone comfort, or running workshops that spark creativity in others.
11. What’s your favourite quote you’ve ever heard about your work?
Someone once said my work felt like
“a whisper of reassurance, solid yet delicate.”
That stuck with me.
Inspiration
12. Where do you draw inspiration from for your work?
I’m drawn to quiet moments—fragments of conversations, light hitting a surface, the texture of something well-worn. Collage, in particular, allows me to build on these fleeting moments, layering scraps of paper, printed textures, and embossed tin to create new narratives.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I admire artists who work with materials in intuitive, storytelling ways—Louise Bourgeois, Anni Albers, and those who engage in folk traditions. I also love the resourcefulness of collage artists who work with found materials, embracing imperfection.
14. How does colour influence your practice?
Colour plays a subtle but important role. I tend to lean towards muted, natural tones—deep blues, soft greys, warm metallics. In collage, I enjoy layering different textures and shades, letting chance play a role in what colours emerge through the process.
Perspectives and goals
15. What role does your environment play in shaping your creativity?
My surroundings deeply affect my creative energy. My studio, when organised, feels like a safe space, but my home environment (especially with past mould issues) has sometimes been a source of stress. I find inspiration in nature, especially during walks—small details like peeling paint, faded signs, or the texture of stone often find their way into my work.
16. What do you want people to feel when they experience your work?
A sense of quiet reassurance. I hope my work offers small moments of reflection, a pause in the chaos.
17. What are you currently working on, and what excites you most about it?
I’m working on a new series of embossed tin pieces and collages exploring the themes of less and more—what we carry, what we let go of. I’m also experimenting with new ways to layer materials, playing with depth and light. I am also getting back into my collage making which brings me so much joy.
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Let yourself make bad work. Not everything has to be perfect or shareable. Your voice will develop through the act of doing, not just planning.
19. If you could go back to the start of your career, what advice would you give your younger self?
Slow down. You don’t have to prove your worth through constant output. Trust that your work has value beyond sales or social media engagement.
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
Anni Albers—her approach to materials and structure fascinates me. I’d love to explore how embossed metal and woven textures could intersect.
I also love to collaborate with people who come to art making from a different angle or path. I think people who think in varying ways are so inspiring.
21. Where can people find your work, and how can they support you?
My work is available through my online shop and at select indie shops and galleries. People can support me by purchasing pieces, sharing my work, or simply reaching out—kind words mean more than they know.
Megan’s work is tactile, emotive, and richly layered, combining embossed tin, collage, and printmaking to create pieces that invite both touch and reflection. Her process is deeply intuitive—whether arranging fragments of paper, embossing tin, or printing textures, she allows the materials to guide her. Inspired by folk traditions, found materials, and the unexpected beauty of imperfection, she finds meaning in the quiet details of everyday life.
Her journey as a maker hasn’t been without challenges, particularly in balancing the emotional and financial demands of creative work. However, through a focus on process over perfection, she continues to create pieces that resonate deeply with collectors. Recent projects explore the themes of what we carry and what we let go of, using layered materials to play with depth and light. Above all, Megan hopes her work provides a moment of quiet reassurance, a gentle pause in the chaos of life.
Discover Megan’s work:
Website: meganfatharly.com
writing: meganfatharly.substack.com
Instagram: @printcessmeg
The Art of Colour: Inspiring a Maker’s Palette
Colour is more than just a visual element—it’s an emotional connector, a source of inspiration, and a defining feature of a maker’s unique style. For artists, designers, and makers, colour isn’t just a tool; it’s an essential part of the creative process that communicates mood, narrative, and personal expression.
From bold contrasts to subtle, natural tones, each maker finds their own way to play with colour, bringing their creations to life in ways that are deeply personal and unique.
The Playful Palette: Bold & Unexpected Combinations
Some makers are drawn to the joy and surprise of working with unconventional colour combinations.
K S Creative Pottery: A Love for the Unexpected
K S Creative Pottery embraces the unexpected, experimenting with colours that others might not typically consider together.
“I am so inspired by colour and very drawn to unusual combinations,” says Kate. “I love a sludgy olive green with a lemon yellow and a soft pink.”
For her, colour adds a playful and joyful dimension to ceramics, often drawing inspiration from holidays and seaside influences. The love for stripes has been a long-standing theme in her work—so much so that she was nicknamed “Stripey Kate” at university. This influence is evident in her Duci stripes, where bright yet soft colours strike the perfect balance between playfulness and sophistication.
Harriet Says Hi: The Power of Contrast
Similarly, Harriet Says Hi thrives on bold, contrasting colour combinations—especially the dynamic pairing of blues and reds.
“I love contrasting colours and predominantly use blues and reds together,” she says.
The high contrast creates an instant visual impact, making her work feel vibrant and energetic. For Harriet, colour choices go beyond aesthetics—they create a sense of tension and balance that draws the viewer in.
Subtle & Natural: A Muted, Calming Approach
While some makers embrace bold contrasts, others prefer a more understated, calming palette.
Meg Fatherly: The Beauty of Muted Tones
For Meg Fatherly, deep blues, soft greys, and warm metallics evoke a sense of calm and simplicity.
“Colour plays a subtle but important role,” Meg shares. “I tend to lean towards deep blues, soft greys, and warm metallics.”
In her collage work, these earthy, timeless shades emerge naturally, evolving throughout her creative process. The result is a palette that feels intuitive and deeply connected to the materials she works with.
Owmi Studio: Finding Harmony in Colour
Similarly, William James Bryan from Owmi Studio enjoys balancing neutral and vibrant hues.
“Once I am happy with a form, I often consider multiple colourways—some more neutral and others more poppy and vibrant,” says the maker.
Owmi takes inspiration from historical Art & Design books, where unexpected yet harmonious colour combinations come to life. For him, working with colour isn’t about following trends—it’s about creating a dialogue between materials, textures, and hues.
Colour as a Personal Connection: From Sketches to Confidence
For some makers, the colour selection process is about more than just aesthetics—it’s about building confidence in their creative choices.
Grace Percival: Colour as the Starting Point
For Grace Percival, choosing a colour palette is the most exciting part of her creative journey.
“Choosing a colour palette is my favourite part,” she explains. “My phone is filled with screenshots. I always start with a rough sketch on my computer so I can play around with the colours as much as I like. That way, when it comes to painting, I’m already confident in my palette.”
By refining her colour choices early, Grace ensures that her designs feel intentional and cohesive from the very start.
Earthy & Grounded: A Love for Natural Hues
For some makers, colour is deeply rooted in the materials they work with, enhancing the natural beauty of their craft.
Rosie Gore: Elevating Earthy Textures
Rosie Gore works with speckled stoneware, using colour to highlight the organic textures of the clay.
“Colour is a huge part of my practice, giving a pop to the earthy tones,” says Rosie.
While she gravitates towards greens, browns, and burgundies, she also experiments with seasonal colour trends. Inspired by influential designers like Studio Ashby, Beata Heuman, and Colours of Arley, Rosie’s palette blends the timeless with the contemporary, ensuring her work remains fresh yet grounded.
Colour as a Personal Signature
Whether bold or subtle, earthy or vibrant, a maker’s use of colour reflects their unique style, inspirations, and creative philosophy. Colour is never just a surface-level choice—it’s a language that speaks directly to the heart of their craft.
At its core, colour isn’t just about filling space—it’s about storytelling. It’s a tool that helps makers connect with their audience, express emotions, and leave a lasting impression. Whether through the vibrancy of unexpected combinations or the serene calm of muted tones, colour is a powerful force in the hands of every maker.
Artwork
There is plenty work to complement modern lifestyles, from the strikingly graphic pieces by Emily Forgot and Robson Stannard to naive and joyful ‘still life’ from Grace Percival, Frances Costelloe and The Good Life Home or the inimitable playful style of Tatiana Alida’s contemporary art and painted homewares.
Nature provides endless inspiration for many artists. Tabby Booth’s bold silhouettes of animals and mythical creatures offer real impact to interiors, while Ley Lines and Polly Ruffman’s depictions of flora are elegant and delicate in their handmade frames. If it is a gallery wall you’re building then also look to Bertola Home Studios and Laura Reeves from All The Things who handcraft beautiful frames in colourful stripes and bobbins.
Colour is the great gift that artwork can bring to a space and all our artists embrace it. Rachel Bottomley uses mixed media to craft bold and vibrant work, while Rose England’s colourful and trend-lead paintings celebrate stylised flowers with a broad range of prints.
If you’re looking for a statement centrepiece, we love Ruby Bateman’s paintings that interweave classical, gothic and esoteric elements to create beguiling pieces. Also embracing large scale is Rosie Harbottle who draws inspiration from her surroundings on Dartmoor, creating joyful paintings of plants, flowers and the wild ponies she sees on the moors.
Our artists pour their heart and soul into their works which is what makes each piece unique. Harlie Briggs comments on how the “the act of creating brings [her] immense calmness, which she hopes is mirrored in her work, serving as a gentle reminder to pause and reflect”.
Paint is just one of the many mediums reflected in our collection and experimentation is the lifeblood of all our artists. Wilder Frame’s coveted hand-cut brass flowers in painted frames are uniquely sculptural. Also working in many mediums is artist Meg Fatharly who explores techniques from brass-embossing to collage, all with her signature crafted style. Another exciting yet ancient process is marbling and Nat Maks’ impressive large scale marbled artworks would sing in many different styles of home.
This short introduction displays the scope of creativity on offer through the artworks at MAKERS MADE and we think you’ll love delving deeper into each individual’s work.