Woman in glasses, blue work jacket, and green sweater standing on a sidewalk, holding a bright blue sign with the logo 'Loughborough Students' and a pink brain illustration, next to a brick wall.
Two stylized, simplistic beige hands with black outlines and black background, positioned as if reaching or grabbing.
Abstract illustration of two hands in pink, outlined by black, touching over a black background.
A woman sitting in an orange upholstered armchair with a man standing behind her in a warehouse. Both are holding coffee mugs, and the background features large stacks of boxed items. The woman is wearing a floral blouse, blue jeans, and sneakers, while the man is wearing a light green sweatshirt and jeans.
Three people holding ceramic mugs that say 'Verdant Ops,' making a toast outdoors.

I love seeing pottery become part of wider conversations, places and communities.

My work includes bespoke commissions for breweries and businesses, public demonstrations, hands on workshops, and creative sessions for children, families and community groups.

For me, clay is at its best when it feels both personal and shared. It can be functional, expressive, playful and grounding all at once. Whether I am making a piece for everyday use or helping someone discover the wheel for the first time, I want that experience to feel generous, approachable and genuinely enjoyable.

Group of women in a brewery or factory, standing in front of large stainless steel brewing tanks, smiling at the camera.
Woman and girl using pottery wheel to mold clay, with other children observing.
An adult and two children working on pottery in a ceramics studio. The adult is wearing glasses and a blue apron with a 'Lucy Young Ceramics' logo. One child with a yellow headband is shaping a clay piece in a cylindrical mold, and the other child with dark hair is looking at a clay object. The table has pottery tools, clay, and decorative items, with shelves of ceramic pieces in the background.
A woman smiling and holding a decorative mug with a cat illustration outside in front of a construction site.
Red brick building with white-framed windows and a sign that reads "MAW & Co BENTHALL WORKS," indicating it is a historical factory or workshop site rebuilt in 1883, with a gated entrance and a potted fern near the gate.

In March 2025, I opened my studio at Maws Craft Centre in Jackfield

Being based here feels especially meaningful because of the area’s rich history of making.

My work includes functional tableware, everyday cups and bowls, plates and vases. I love making pieces that feel good to hold and are made to be used and enjoyed in everyday life.

I was delighted to be featured in the Shropshire Star in an article about my journey into professional pottery and the long ceramics tradition connected to Ironbridge.

Read the article here

Pottery studio

Stylized illustration of two hands reaching towards each other against a black background.
Shelves with various handmade brown pottery cups, bowls, and pitchers, some with white and blue decorative dots.

Pottery has been part of my life from the very beginning. I grew up in the Forest of Dean where my dad Alistair Young set up his first pottery studio in 1978, producing wheel-thrown pottery.

He later led the ceramics department at The Royal Forest of Dean College, hosting international pottery conferences and workshops.

A Fellow of the Craft Potters Association, he has also worked with Royal Doulton and Asprey and authored Setting Up a Pottery Workshop.

His dedication to the craft, combining technical skill with curiosity and care, has been a lasting inspiration in my own work.

Pottery runs in the family

Two potters working in a ceramic studio filled with clay pots and tools, with sunlight coming through the windows.

After 18 years of teaching teenagers, children and adults, I returned to my first love, the pottery wheel.

Before starting my business, I worked as a production potter at Whichford Pottery, near Stratford-upon-Avon, a family-owned pottery, renowned for its hand-thrown terracotta flower pots.

I learned traditional, production wheel-throwing techniques and produced flowerpots for projects including Royal Horticultural Society (RHS) and National Trust gardens.

During my time there, I also witnessed the studio’s wider work, from Adam Keeling on The Great Pottery Throw Down to the production of large urns for the The Chelsea Flower Show, experiences that continue to inspire my work.

Mastering the Craft