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Landon Peck

MA work

Solid Line Form

An exploration into the material relationship between process, form and surface seeks to demonstrate how far the ceramic medium can be pushed by revisiting traditional techniques. The objects are simple solid geometric shapes assembled with multiple layers of casting slip or slab-rolled clay which are then cut to reveal the process's internal movement. The line illustrations exposed on the body’s new surface are essentially traces of my journey and progress through research and experimentation. 

Agateware was first introduced in the mid 18th Century by Thomas Wedgwood and is the technique from which this body of work has expanded from. Depending on the complexity of the lamination, they take up to a week to prepare and require about two months drying time before firing. 


  • Landon Peck
  • MA Degree


    School of Humanities


    MA Ceramics & Glass, 2014

  • My practice is driven by a preoccupation with forms and phenomena derived from natural processes. This has led to a dedicated investigation into the limitations of the ceramic object in its historical and contemporary context. Body and surface are redefined: layers of clay compacted into solid forms are cut to reveal their inner structures – the narrative of their making. These rhythmic corporeal traces evoke reflection upon those echoed in our built and natural environments.

  • Degrees

  • BA (Hons) Ceramics, University of Westminster, 2012
  • Experience

  • Entrepreneurs Launch Pad, Innovation RCA, 2014; Participant artist, 6th ARS Dissection Drawing Marathon, Antwerp, 2013; ArtFood with Marek Cecula, Ćmielów Design Studio, Ćmielów Porcelain Factory, Ćmielów, Poland, 2013
  • Exhibitions

  • Malta Design Week, Valetta, Malta, 2014; Grocers' Hall, London, 2014; Ceramic Art London, London, 2014; Work-in-progress Show, Royal College of Art, London, 2014; Anima, Asylum, Caroline Gardens Chapel, London, 2013; Progression, Preston Fitzgerald Residence, London, 2013; Lodz Design Festival, Lodz, Poland, 2013; British Ceramic Biennial, Stoke-on-Trent, 2013; Flow Gallery, London, 2013 ; Concordia Design, Poznan, Poland, 2013; Ceramic Art London, London, 2013; The Ceramic House, Brighton, 2013; Rupert Cavindish Antiques, London, 2012; Nought Anew: Sculpture, Mile End Art Pavilion, London, 2012; New Designers, London, 2012; Material Matters, The Rag Factory, London, 2012; A Step Into The Art World, Top Floor Hoxton Square, London, 2011; The Phoenix Bakery, Weymouth, 2011 ; B+B, Weymouth, 2011; Natural Selection, University of Westminster, Harrow, 2010; Elemental Tales, University of Westminster, Harrow, 2009 ; Re-load, University of Westminster, Harrow, 2008
  • Awards

  • The Worshipful Company of Grocers Bursary, 2013–2014; Shortlist, QEST Scholarship, 2013; Progression Scholarship, University of Westminster, 2008–2012
  • Publications

  • Justine Fox, 'Royal College of Art: Work In Progress', Colour In Clarity, 2014 [Online]; Fran Lawton, 'RCA work in progress 2014: ceramics and glass', Arts Thread, 2014 [Online]; Christina Lai, 'Material Matters, Ceramics: Art & Perception', issue 94, 2013, pp.73-77; Glenn Adamson, 'The Passing of Pottery Proving Ground', Crafts, issue 237, 2012, pp.28-29