The clay language of plants
- Charlotte studies the transformation of ecosystems with clay
- Her ceramics are rooted in observation, dialogue and site-specific research
- She aims to explore freestanding, narrative works
Charlotte Moore's ceramic practice emerges from a deep curiosity about architecture and nature’s transformative processes. Growing up in Cornwall, UK, she absorbed a culture of craftsmanship that now informs her large-scale, narrative-driven pieces. Trained in architecture, Charlotte balances digital design with hands-on clay exploration, transforming observations of wildflowers and ecosystems into architectural forms. "I have heard people say, 'This is a cardoon!' I like that people recognise the plants in my work," she shares. Ranging from tiles to façade commissions, Charlotte's pieces trace the complex, fragile interactions between humans and plants, revealing how natural landscapes and imagination can shape built environments.
Discover her work
INTERVIEW
Without realising it, I was surrounded by clay in Cornwall, with its old kaolin pits and a culture of making ceramics. At the Royal College of Art, I prototyped a ‘bloated’ plate to mimic a symptom of plant poisoning, and decided to make this into a ceramic piece with the help of RCA technicians. From then on, I was hooked.
My work observes ecosystems, plants and transformation, from pollen grains to wildfire threat in orchards. Cornwall’s Tamar Valley has a significant influence in its mining heritage and blend of native and non-native species.
My architecture training gave me years of experience with computer modelling, so I start with digital design before hand pressing and sculpting. I also make imprints of real plants for veining and surface details. Nature does it so perfectly.
I am looking forward to a new studio space where I can continue making large-scale work and store my growing archive of plaster moulds. My aim is for commissions to remain my mainstay, but I want to explore more freestanding, narrative work.
