The Glazes of Miranda Thomas Pottery


Whilst working within the English slipware tradition, Miranda began looking at other slipware traditions across the world. The Chinese Northern “Sung” wares were held in her highest esteem.

She noticed the Sung potters were drawing and carving through the slip layers at a later stage. These pots became her inspiration. This gave her carving a crisper cut, and showed the freehand drawing in a more defined way.

Then by firing the iron rich slip in a reducing kiln, and coating it in a Chun glaze, the smoke in the kiln transforms the rust layer to a range of rich blacks and browns. Sometimes, the iron is lustrous highlighting the edge of the carving. On the carved away areas the Chun glaze is a deep olive celadon, and where it pools, an opalescent blue. No two pots come out of the kiln alike. These have become Miranda’s signature pieces.


A variation on Miranda's signiture Black Carved collection, these pieces are drawn freehand then carved through a creamy layer of white clay slip. This reveals the soft, beige brown of the clay body beneath, giving a feeling of a two toned damask cloth.

Unlike the black sung pieces, they are fired in an oxidizing kiln.

Each piece is totally unique and takes incredible skills in throwing, drawing and carving to execute. No two are alike, and such a pleasure to use.


Miranda trained in England not only with Michael Cardew in Cornwall, but also the famous potter and decorator, Alan Caiger-Smith, at his pottery at Aldermaston. Whilst there she acquired, and mastered her brushwork skills in the English Delft, European Majolica, and Persian lusterware traditions.

With this range of pottery Miranda uses a white opaque glaze, on semi porcelain, and paints in a soft cobalt blue. These pots have a feeling reminiscent of English delftwares. This she highlights with tiny touches of brown for depth.


The Devonshire collection is a stoneware interpretation of traditional Devonshire (SW England) style of pottery that features both raw clay surface with interior and edges glazed in shades of deep celadon green.

The design is rooted in Miranda's training in the tradition of Bernard Leach and Michael Cardew as well as her extensive collection of antique English pottery displayed in her home kitchen.

This collection is a celebration of contrasts: the matte raw stoneware clay with the high gloss glaze; the warm clay color with the cool green-blue. It reads as both traditional and modern, making it a perennial favorite.


Miranda’s Blue-sky pots are extraordinary. They are a “super” blue. Not only pigmented blue, there are tiny minute bubbles within the glass matrix of the glaze that refract the light blue as well. It is illusionary, just like the blue sky above us on summer days.


“I have always loved stripes- they are cool, fresh, and modern. I also love painting them, lots of them. The white is a creamy white, and the blue, a wonderful cornflower summery blue. They remind me of the seaside, summer kitchens, ready to hold and serve fresh flowers and delicious morsels picked from the garden." - Miranda Thomas


The forget-me-not, Myosotis scorpioides, symbolizes unending true love, respect, and loyalty. These beautiful flowers, the delights of spring when picked and pressed near your heart, will hang on and prove their faithfulness. This collection is hand thrown out of white stoneware and individually painted in deep blue cobalt pigment on our pristine white glaze. They are a promise of beauty and remembrance.