You see the students have risen to the challenge in this final year, working without fear and exploring themes that moved beyond the comforts of their previous two years. The clarity of expression, attention to detail in the material and the verve of some the work is exceptional. I congratulate them all upon completing their BA Ceramic Design. They have worked hard to achieve this work and deserve the success it will bring. It was Herbert Read charismatic Keeper of Ceramics at the V&A who said that you could judge the art of a nation and the sensibility of its culture by its ceramics, I would apply that axiom to this exhibition, you can judge the society we live in now by the works presented before you now! It’s fair to say the students were a bit surprised when I told them of the degree show concept! You see its probably the first myth about ceramics that we disavow them of upon entry to the course. We talk about how robust, expressive, visceral, transformable, humane and exciting the material is. We spend a seriously long time teaching the students to take control of the material, to exhibit an authority over it and dexterity a with it. So, the idea of it being fragile is not really what we do. Granted if you knock a teacup of a table its likely to shatter but then most materials have some sort of Achilles Heal. So, to the point, it’s not the material that is fragile, that needs handling with care! It’s the ideas and concepts that the work tries to express, frame or capture. This material in our students hands is perfect to deal with diverse and complex issues that face our contemporary society from, the expression of human emotions, racial discrimination, to memories of domesticity, or global warming, to loss of insects and flowers in our neighbourhoods! Travelling through Pakistani Truck art, Mayan rituals, Fast Fashion, Material design archetypes, the seven ages of Turkey, how the new Duchess of Cambridge is treated in the press and many more beautifully crafted highly considered works to enjoy.
Make sure you pay attention and Handle with care. Tony Quinn
Course Leader BA CERAMIC DESIGN
orn in Pakistan, brought up in Manchester and now living in London, my work represents my multicultural background and experiences as Muslim woman. With a fascination with craft and its traditional techniques, my work is a fusion of my roots with an attraction for the rich British culture through colour and hand painted decorative surfaces. I have always been interested in storytelling which I showcase through tiles, a medium that has been used throughout history. They illustrate the rituals and realities of contemporary urban life. firstname.lastname@example.org @nehal_ceramics 0744949193
Moving to the UK attracted me to its
multicultural society and the complexity of London. This made me aware of my own cultural influences even more. I am primarily concerned with Muslim communities and their relationships between these individuals and their environment going about their daily lives. I explore the issues which I have faced trying to fuse my Pakistani Muslim identity into British contemporary society. I express the difficulties of being an independent woman through the perspective of my Pakistani heritage. Inspired by Pakistani truck art that enables me to illustrate my heritage. I intend to change peopleâ€™s perceptions that enhances their lives rather than them just being ornamental objects. I feel like it is important for me to talk about my culture and traditions to those who are not aware of it, consequently removing stereotypes or any other misconceptions. I create tiles that include elements from my cultural roots and heritage while celebrating my identity within Britain culture. These tiles are structured yet creative, intense yet playful, creating a new and exciting experience for the viewer.
I am a London-based designer using a variety
of different materials but predominantly working in clay. Through my ceramic work, I love to experiment with glazes, lustres, colours and techniques, which I use to explore the world of design. I play with texture using sprig moulds and non ceramic media such as textiles to enhance my designs and add depth to the â€˜storiesâ€™ which inspire my work.
The detrimental effects of the fast fashion
industry is something I have recently become interested in. The microfibres in our clothes polluting the waterways and oceans; the excessive use of water needed to produce cotton; the polluting dyes used for the clothing industry; the pesticides used to maximise cotton crop production; and the factories generating CO2 and contributing to global warming. I have used the language of fashion to inform my final pieces which are all connected with the environment. I am using ceramics to demonstrate three of the elements of nature - water, fire and earth â€“ highlighting how human overconsumption of fashion is affecting them. I am highlighting the BEE as one of the vital species which we are destroying.
am a ceramic maker and a clay activist who creates performative, publicly engaged work. As a former actress I enjoy the impact of sharing experiences that can be found in the immediacy and sensuality of working with clay. I believe in the transformative power of raw materials and the benefits of meditative time spent on making together. My practice embraces sustainable processes; I choose to once-fire to minimize my carbon footprint and have become an alternative kiln builder as a way to link place and community. ewelina.ucraft.net @ewe_space email@example.com
Sensual Way Of Knowing is a body of
work exploring the complex relationship between humans and nature in the age of Anthropocene*. I take a performative approach, working together with clay to make and then destroy the vessels as a metaphor for humanity’s influence on Earth. Thrown on the potter’s wheel, pushed to its breaking point, I employ my body as well as discarded material to become the tools for demolition. I have also set up and co-run the Sustainable Anthropocene Cooperative, leading clay workshops to build healthy ecosystems in local communities. *Anthropocene is the current era where human intervention has tipped the Earth’s balanced ecosystem from harmony into crisis.”
believe in the power of art as a device for enquiry and an agent for change. This research project instigates a discussion on bias embedded in the collective unconscious. It focuses on the anti-black racist bias. Colonialism, Christianity and Imperialism has served as a foundation for the construction of the concept of â€˜blacknessâ€™. Black became the other. Differentiation was crucial for accessing external resources and as a means of creating wealth in Western cultures. I challenge this legacy by building a different and culturally diverse future through this interactive social action. @mbartceramicslondon
am a cross-disciplinary ceramic based artist. My background as a computer programmer, dance artist and video maker infuses into my practice. I feel inspired by the knowledge that I have learnt through the experience at this university, I have gained consciousness towards my value in society and I feel liberated. I feel awesome, powerful and beautiful. I aspire to make art that leads to consciousness. I aspire to make art that remains in the heart of the beholder. I aspire to make art that brings elevated values of kindness, respect and empathy forefront and connects us with our humanity.
With a background in craft, my interest in
ceramics began while interning at a small Japanese pottery studio in New York. I found a kind of haven in clay. Deciding to further my career in ceramics I came to London to complete my BA at Central Saint Martins. As a designer, my work usually translates as tableware that highlights the subtleties of everyday life and telling the most intimate stories of who we are. Employing traditionally industrial techniques fused with the knowledge of a crafts potter I combine fine detail in the forms with the familiarity of clay as a material.
Dug-up is tableware that addresses the
disconnection we have with the natural materials around us and demonstrates inherent beauty in archaic technology. We live in a constant cycle of consumption which is reflective of our desires resulting in an excess of objects in our everyday lives. The objects demonstrate the beauty of simple forms paired with a simple function that quiets the noise of everyday life allowing for a moment to recollect and ignite a reconnection with the materials around us.
@lornart firstname.lastname@example.org lorne-burrell.squarespace.com 07980747123
am a British Sculptor living in London. I spent some of my early childhood with my grandparents in Jamaica. I returned to the UK in my early teens, where I was educated. It was not until later that I discovered that I had an interest in the arts, and began working in clay making some sculptures. I obtained a place on a ceramics course at the City Lit, and in 2008 gained an Art Foundation diploma there. I have exhibited in shows at the City Lit and had sculpture accepted at The Royal Academy Summer Exhibition. I have also showed several pieces at the Smokehouse Gallery, London, and one or two other exhibitions, such as the RHS, and the Pangolin Gallery.
have a passion for the natural environment and for planetary conservation, and most of my work is inspired and informed by this. I feel I have a spiritual connection with the Earth, and need to communicate this. I have, therefore, been working on a large body of sculptural works in ceramic and mixed media expressing my deep and overwhelming concern for the future of our planet in this age of climate change, and my frustration at the universal unwillingness of the political classes to take any meaningful action. People are very confused by all the conflicting information which the media flood them with, myself included, and I express this confusion in an abstract way, hoping that it may connect and focus ideas. This involves a large amount of experimentation with materials and forms, and I enjoy the occasional failures as well as the successes, as this drives on the creative processes.
grew up in Taiwan, where the religious environment is characterised by tremendous diversity and tolerance. It allowed me to be exposed to a variety of folklore traditions and legends from different religions. My work is influenced by various spiritual practices from Shamanism and Buddhism to Oneness. I am particularly interested in exploring the relationship between the material world and the spiritual realm.
My piece is an interactive instlation. The
viewer is invited into a shrine representing rebirth. I want the viewer to enter my installation and experience a shift in their perception of their life and society’s expectations. Inside the shrine there is a sculpture, which is an all knowing, all powerful divine being surrounded by ritualistic objects. The viewer is invited to sacrifice a human experience to this being, maybe an emotion or interaction, in return for a wish. This symbolises the emotions, experiences and interactions made for material gain, for achieving success in society’s eyes. The audience is also encouraged to interact with the ritual devices in the shrine so that they can practice oneness. There’s no anger toward anyone or anything because everyone and everything is Spirit. This Spirit is Oneness, our source of being. By relaxing into the oneness we discover the meaning of life and where we came from. Without having to leave our body. In the ritual of death we get closer to experiencing our original nature. More peace and purpose flows through us.
have come to identify myself as a ceramic artist/designer during my 3 years studying ceramic design at Central St Martins. Throughout all of my projects I have always produced pieces with colour being the main focus. Iâ€™m intrigued by how colour can be interpreted differently in glaze and the experimental side of it. My glaze pallets consist of different hues of pastels, adding a subtleness to my work. I like the accuracy of working with plaster forms that I slip cast to add a consistency to my products. I make simple but effective shapes that showcase the ceramic material and its glaze while keeping it fun and playful.
email@example.com madebyaimeechilds.co.uk @madebyaimeex
The Little Things is all about values we
have in life. I am focusing on two specific ones which are jewellery and colour. We can sometimes second guess how important colour is in our lives and can be perceived as a little thing. Jewellery on the other hand is of high value,such as family heirlooms accessories and gifts that are sentimental to an individual. With these two little things I wanted to combine them together to compliment one anotherâ€™s values, by doing this I am creating a series of jewellery holders with some sets that are multi functional. The pieces are going to have the touch of an elegant glaze empowering the jewellery to be shown at its best.
orn and raised in Paris, I started ceramic classes when I was 6 years old and never stopped. I studied Art & Design in High School, and then moved to London to study ceramics at Central Saint Martins. firstname.lastname@example.org +33678568339 Inst: @ccclay_ www.clotildechirol.ucraft.net
When I arrived in London, I found myself
observing tube passengers on the Victoria Line. A friend once told me how rude it was to look at people on public transport and how uncomfortable it makes her feel. Londoners tend to avoid the gaze of others, even running away from it. My project is a response to this ÂŤbanÂť. I have observed the people that share a part of my daily life and celebrate them. I try to make every moment important, even those that seem insignificant. I celebrate every person even those we do not remember. My work takes you on my journey through other people's lives with sculptures and paintings that express my vision of the city. I start by drawing from observation, then illustrate onto the clay, finally, I sculpt them. Each of these steps influences my final sculptures into a more personal response to the people around me. The Victoria Line is a melting pot of great diversity that represents London. This diversity is represented through the different clay bodies used in my work.
YIYUN CHU (ICEY)
am a ceramic designer from Shanghai, China, who has been living and studying in the UK for eight years. Both eastern and western ideas have influenced my work due to the diversity of cultures present in my life. I have a keen interest in experience design and introducing the concept of mindfulness into the products I make, with a postcontemporary aesthetic for modern living. email@example.com @ic_yyceramic chuyiyun.wixsite.com/iceychu
SÂł is a range of writing materials that
creates both a tactile sensory and perfumed writing experience. Fragrant, graphic ink stamps and ink pots twinned with Chinese-inspired writing materials. The concept explores the ritual of wellbeing in everyday life and connects our sense of smell to the quiet sensuous experience of writing by hand. This project is targeting the high-end souvenir and gift market. The olfactory sensory experience is intended to add depth and a sense of preciousness to the gift, which in turn creates an emotional connection with the product, reminiscent of writing a personal letter to friends and family.
have always travelled extensively; throughout Europe, North and Central America which is perhaps influenced by my dual Belize / British heritage. Expanding my knowledge of the world and the differences in classes and cultures has been a prominent factor growing up and has influenced my ceramic practice which I hope to continue by designing and making functional tableware, vessels and decorative pieces. g.davis_ceramic_design firstname.lastname@example.org www.jujubeansceramics.net
My tableware design has been greatly
influenced by the ceramic traditions coming from the Belizean, Mayan side of my life as well as Japan. The aesthetics of each piece are very important to me which I formed using dropout moulds having thrown the various forms in porcelain and buff clay. The warping and dimples helped me to embrace each imperfection as I looked to the Japanese notion of â€˜Wabi Sabiâ€™. The concept of embracing imperfection directed all the processes involved in this project. When applying glaze I drenched each piece in glazes I had made specifically; for instance a bright blue glaze which changes with an application of the green glaze - combined together they resemble the night sky.
orn in China and moved to the UK many years ago. Studying Ceramic Design at Central Saint Martins I am strongly influenced by Chinese culture and history, and how that translates into modern contemporary life.
ianâ€™ is a collection of lotus flower designs handcrafted into a set of delicate porcelain forms comprising of an incense holder and a vessel. The lotus flower symbolises purity, spontaneity and beauty, as it grows out of the mud to bloom. The lotus is one of the Eight Auspicious Symbols of Buddhism and its blossoms are considered precious, often placed as a seat for the Buddha.
ith a background in Fine Art and Painting, I am interested in using clay in a manner unconstitutional to its materiality. I am interested in representing juxtaposing and unorthodox concepts in clay. I have had the pleasure of exhibiting at the Lethaby Gallery and the Pangolin London Gallery, showing-casing vases inspired by medicinal ayahuasca ceremonies and the visualisation of techno music. My graduate collection is a series of hand built, architectural forms erected seemingly beyond the capability of the material. These fluid forms come from my research into the psychedelic origins of Christianity.
Stations is a series of earthenware
ceramic forms that reference the images that depict the lead up to Jesus’ crucifixion - The 14 stations of the cross. The psychedelic quality of the forms is inspired by the findings in John M. Allegro’s controversial book ‘The Sacred Mushroom and The Cross’. Allegro argues the origins of Christianity came from early fertility cults who would ingest hallucinogenic mushrooms and subsequently perceive a higher power. The images are only distinguishable from one angle, bringing to light this controversial theory whilst challenging our notions of perspective and distortion.
email@example.com @bymalakhelmy +201001650371
am an Egyptian designer, and initially moved to London to study Product Design, but switched to Ceramics. This stemmed from my interest in, not only functional products, but more so the use of different materials and mediums to express myself. I have always been driven by the urge to strengthen the modern Egyptian visual identity. My work aims to distill and comprehend Egyptian heritage and craftsmanship.
These vessels are a manifesto of my need
to develop and modernise Egyptian heritage. There are seven stackable pieces, each representing a civilisation that has impacted Egyptian culture and its contemporary visual language. Through an understanding of my heritage, I made the decision to throw my pieces, as a symbol of the craftsmanship in Egypt. In contrast to that, I have contemporised this heritage through the modernity of the graphics and their application, all of which stem from the seven civilisations. The juxtaposition of heritage and modernity is an area Iâ€™d like to take back to my homeland with me to develop a modern Egyptian visual language and to give value to craftsmanship.
Following a career as a freelance illustrator and teacher, I decided to pursue the nagging feeling that I should really be working with clay. During my time at Central Saint Martins I have exhibited at the Lethaby Gallery, The Royal Horticultural Society’s Lindley Library, The Urban Garden Show, and most recently at the Museum of Royal Worcester’s ‘The Precious Clay: Porcelain in Contemporary Art’. I will be continuing my adventures in clay on the Royal College of Art’s MA in Ceramics and Glass.
www.leonoralockhart.com firstname.lastname@example.org #leonora_lockhart
am interested in the relationships we have with the objects around us. The work for my graduate show explores some of these relationships and how the mantelpiece serves as context for the material culture surrounding us. This familiar archetype holds a tension between our public and private selves and my work references concepts of memory, and the narratives of the domestic and the everyday.
orn in Britain of a Guyanese/British origin my work is strongly influenced by my multicultural background. As an emerging artist, I have a keen interest in highlighting the inequalities people face everyday, within my work. I have refined my work to focus on the internalised sexism of women and more specifically women of colour. From my three years of studying ceramics design I have discovered that my work is more than just clay. I use the clay body as a medium to showcase my messages in a familiar format such as the humble plate or mug. Looking at topics such as The Gender Pay Gap and Prejudice In The Media I have discovered information that otherwise I would have dismissed. My aim of producing this work is to get as many people as possible to see what is going on around them and to talk about it without feeling as if it is a taboo topic. email@example.com @kaishartdesign kaishamcgregor.co.uk
My project is a collection of â€˜alteredâ€™
royal china that aims to shed new light on the darker side of British history and social inequality in this country. Although these pieces of vintage china were made to commemorate past royal celebrations, my act of redecorating and re-purposing aims to subvert their original royalist message. My aim is to remind viewers of the often forgotten and shameful history of our ruling elites who have exploited, colonised and subjugated in order to achieve and maintain their status and wealth. Having recently married Prince Harry and become The Duchess of Sussex, Meghan Markleâ€™s place as a powerful and iconic woman of colour within this Royal family is both celebrated and examined in this work, highlighting the continuing racism and sexism that she is being subjected to.
People are born in places or become a part
of places by happenstance. Relationships with birthplaces and homelands go further than the matter of separation. Iâ€™m a Palestinian, born and raised in the UAE, a rapidly developing city, full of diversity and creativity. It motivates me to embrace this distinct side of myself that not everyone could relate to, using my passion to express my individuality. I have been able to use clay as my canvas to express my cultural fusion. My Palestinian background is reflected in my work through its Middle Eastern aesthetic. It is in contrast to the modernised lifestyle I have grasped living in more Westernised cities. I believe that it is important to expose this Eastern aesthetic globally, creating a hybrid between the East and the West, aiming to bring more attention to this beautiful cultural diversity.
firstname.lastname@example.org dyalam.wixsite/noregulations @noregulations +447472750183
collection explores the concept of Cultural Hybridity; when a cultural element is blended into another by modifying it to fit cultural norms. Through my creative development, I was inspired to take this topic further, understanding the true meaning behind the subtle contrast I have subconsciously tried to depict in my work throughout the years. I want to take the elements that I associate with my culture and bring them into the society I have become a part of, by adjusting it to my new surroundings. When multiple cultures are intertwined, a new sub-culture emerges. This piece reflects on how modernity can be embraced and interwoven into a traditional society communicating a new form of culture that isnâ€™t necessarily defined in the wider world.
trained in ceramics at Central St Martins in my 40â€™s following a professional life that has encompassed current affairs TV and architectural PR. Although a world away from my new practice of making sculptural ceramics, these previous careers have an influence, often adding a political and campaigning dimension to my work. email@example.com www.jopearl.com @jopearlceramics
a ceramic sculptor, my work is predominantly focused on the human figure and concerns that reflect on the human condition. The materiality of clay is informing this conversation, further amplified by using lens-based media and placement. I have adopted stopframe animation to breathe life into the figures, and bring a new perspective to portraiture, beyond purely capturing a likeness. Slowing down time, I am giving permission to stare. Clayâ€™s tactile plasticity is also fundamental to my practice, celebrating its ability to record human touch and emotional gestural mark making. Ecological considerations as well as the meaning I want to convey, inform whether I choose to fire or not, often leaving the work raw, under glass domes, or captured digitally.
Born and raised in Tokyo, I am a designer
interested in ceramics and product design, with a particular interest in tableware. Inspired by the simple minimalism of my homeland, I like to use slipcasting for the purity and precision that this method of production affords to both batch and mass production. Sustainability also plays an important role in my work. firstname.lastname@example.org mitsukatogo.com @mt_design_products
UTSU, meaning ‘emptiness’ in Japanese, is a collection that doesn’t limit where you use it or how you use it. It is designed with a margin to accept your imagination. The concept of emptiness places importance on the interaction between the users and vessels, which is intended to create an affection in the users that will stand the test of time. The design seeks to create harmony in the colour, scale and quiet elegance of the vessel’s forms. 器/UTSUwa; The empty vessel accepts your imagination, 移る/UTSUru; engagement with the pieces changes according to the person or situation, 映す/UTSUsu; invites to reflect on your life, 現/UTSUtsu; grounds you in the present moment.
LEANNE VIERA COMMINS
am passionate about accessibility in art â€“ which is why I choose to make both large and small scale works as well as teaching visual arts. I have been teaching and assisting art classes and workshops for several years and believe in its benefits to both children and adults as a cathartic and rewarding subject. Itâ€™s important to me to ensure students are enjoying the process whilst also learning and progressing with their own artistic endeavours.
@leanneaurora_ email@example.com www.leannevieiracommins.com
There is a hidden chaos unfolding within
the ecosystem right on our doorstep, here in the UK. Our Vanishing Food Chain focuses on the easily forgotten but important subject of endangered plants, insects and invertebrates in the UK - of which 307 have become extinct since the 1800s. This decline has a knockon effect on other species higher up the food chain and our ecosystem as a whole. In turn this affects us as people too, as insects and invertebrates offer essential services to our ecosystem such as pollination and decomposition. We need to understand the impact of our actions, take responsibility and make changes to restore and protect our wildlife. Intensification of agriculture, urbanisation, climate change and loss of habitat are some of the leading threats to our plants and insects, with 97% of wildflower meadows disappearing since the 1930s. My hand-built forms, from large urns to everyday playful objects, are made to display the beauty of the UKâ€™s endangered and lost species of wildflowers, insects and invertebrates while putting into perspective the scale and consequences of their rapid decline. Thank you to the Angela Marmont Centre for UK Biodiversity and the Natural History Museum for allowing me to photograph their entomology collection.
am a native of Guangdong, born in Shenzhen, China. My source of inspiration and design pays homage to my homeland. I explore the balance between the traditions of China and modern thinking to combine them to highlight social issues. I believe that art is a common language to everyone, I am keen to express the problems I have seen in society through my artwork. As a sibling of an autistic person, I have found that the environment for special needs people and their families are harsh. Some even feel it is difficult to live in their own communities. I am dedicated to speaking up for them through my artwork, in order to improve their living environment.
@feitong_ceramic firstname.lastname@example.org https://feitong-ye.myfreesites.net/
artwork is a collision between ancient and modern. There are two girls from two different spaces in time. They have similar characteristics, but they have different life journeys. Suddenly, they meet, face to face. My artwork uses the simulation of space and holographic projection to allow audiences who might pigeon-hole their standpoint to either the ancient or modern. The ancient side may feel inconvenient at times, but it is also leisurely and comfortable. The modern side may be convenient thanks to modern science and technology, but it can also make you feel overwhelmed. . My question for the audience is; â€˜If you had the chance to make a choice, which side would you want to go to?â€™ I hope the audience can find their own answers after they reflect on my pieces.
KIN HEI ZHAO
orn in 1997, in Macau, now currently based in London. I come from an artistic family background as my grandfather, father and cousins all worked in art and design industries. I see myself as a designer-artist and specialise in materials.
My graduation work Desire manifests my research into the relationship between humans and ceramics and also expresses my views on how ceramic art and design exists within the contemporary art field and how it might exist in the future. My work focuses on the origin of materials, specifically the most common ones used in our everyday lives. I aim to subvert and redefine the set perception in modern people’s minds about what is “ordinary”. We live in a world where the majority believe in materialism and people are accustomed to their environments and the materials around them. People are gradually losing their curiosity and are becoming insensitive to their ordinary lives. For example, when people see a chair, they usually don't think about the source of the materials and the process of making; they will sit on it without thinking. ‘Desire’ is the culmination of three years of exploration into my material philosophy.
THANK YOU! We have had an amazing three years here at Central Saint Martins on the Ceramic Design BA. There have been many highs – Frankfurt and Stoke for starters, and we’re not going to lie, a few lows – but then we’re working in clay so what can you expect! We have been well supported along the way with a team of great tutors and technicians as well as the amazing behind the scenes support staff that keep the course, workshops and students on track. Thank you! There are, however, a few people that need to be mentioned directly; Our tutors; Tony Quinn, our course leader and ardent Liverpool FC supporter; Emma Lacey, unflappable Stage 2 tutor and Duncan Hooson, Stage 1 tutor and wearer of fine hats. Our technicians; Andy Allum, workshop technician extraordinaire and most patient man on the planet; Naomi Bailey, print guru; Simeon Featherstone, plaster master; and Bridgette Chan, the maestro of the mould. Elizabeth Wright and Tessa Peters for getting us through our dissertation submissions smoothly and calmly. Lucy Ashdown for guiding us through the deepest recesses of the library
and Margaret Wagstaff for her patient support as we wrestled with the rigours of academic endeavour. Visiting tutors have also generously shared their expertise and experience to better our own practice – thank you Matt Raw, Ian McIntyre, Mella Shaw, and Barnaby Barford. As a year group we would like thank those that very kindly donated to our Crowdfunder appeal so that we could get this catalogue off the ground and show our work at The Crypt Gallery as part of the London Design Festival in September - we look forward to seeing you there. Finally, we would like to thank our families and friends for helping us along the way. It’s been emotional!
Fragile: Handle With Care will be showing at The Crypt Gallery, Euston Road, London, NW12BA from 18th - 23rd September 2019 as part of London Design Festival. We look forward to seeing you there!