Peter Hayes British, b. 1946


Peter Hayes (b. 1946) works are achieved by building up layers of textured clay combined with the burnishing and polishing of surface. He aims to achieve a mixture of rough and smooth textures throughout his ceramic works, having been inspired by the history of ceramics and the work of potters he met during his travels.

Peter has been inspired by his extensive travels across the world, working with various tribes and village potters. He became intrigued by how these artists created exquisite pieces with limited techonology and basic tools. Such intrigue has driven his work and he firmly believes that it's the material that is in charge and it's his role to find an equilibrium between maker and material.


Selected Galleries

Bait Muzna Gallery, Muscat, Oman

Majlis Gallery, Dubai

James Graham Gallery – New York

William Zimmer Gallery – California

Gallery Victor Armendariz – Chicago

Bourgainvillia gallery – Udaipur, India

Gallerie Le Pignon – Netherlands

Beside The Wave – London

The Circle Gallery – Wadebridge, Cornwall

Porthminster Gallery – St Ives, Cornwall

Blackmore Gallery – Lymm, Cheshire.

Roundhose Gallery – Foxton, Derbyshire.


Public Collections

Grassi Museum Leipzig

Jerwood Foundation

Crowne Estates, London

Dorothy House, Bradford on Avon

Scottish National Galley, Edinburgh

Museum of Modern Art, Kingston, Jamaica

Garderner Collection, Toronto

Museum of Modern Art, Brussels, Belgium

Silber Collection, California

J.B Speed Museum, Louisville KY


Selected Commissions


Group of Sculptures, Artelier  Art Advisory.

Standing Stone, Private collection, Bath

Sculptures, Studio Reed, London.


6 Sculptures for Yacht, Mark Berryman Design.

Wall Sculpture, Private Collection, Kensington, London

Wall mounted Disc, Private Collection, Wadebridge, Cornwall 


6ft Raku Wall Disc, Studio Indigo, London

Group of Sculptures, Terence Disdale Design, London


Head mounted on Wooden base, Private Collection, East Sussex

Raku Standing Stone, Private Collection, Newmarket

Male Head mounted on Wooden Sleepers, Private Collection, St Albans.


Iron Infused Figure, Private Collection, London

Group of 5 Standing Stones with Bronze boulders, Private collection, Udaipur, India.


Raku Totem, Private Collection, Maryland. USA

Glass Water Sculpture, Private Collection, Cotswolds


Raku Plaques, Libby Howe Ltd, Wave Projects.

Triptych of Raku Plaques, Private Collection, Bath

6ft Bow Form, Private Collection, Bath


Stacks with Glass Top, Private Collection, Aylesbury

Group of Ceramics Forms, Elstone Hayes Associates


Group of 5 Totems, Private Collection, London

Stack Water Feature, Private Collection, Exeter

Group of 5 Totems, Private Collection, London

3 Raku Totems, Four Seasons Hotel Golf Club, Hualalai, Hawaii.


15ft Totem Water Sculpture, Private collection, Warwickshire

6ft Raku Disc with Blue Wave, Private collection, Cotswolds


12 Sculptures, The Foyer, 1 Hanover Street, London

Raku Disc mounted on Stainless steel and slate base, Private Collection, Boston, USA


Raku Standing Stones, P&O Ship Arcadia, Elstone Hayes Associates

Standing Stones with Gold Inset, Private Yacht, Disdale Design & Linda Bird Art Consultant


Raku Disc & Two Raku Totems, Private Yacht, John Pillar & Libby Howe, Art Consultants


Bronze Family Group, Jerwood Foundation Whitney Sculpture Park

Six Totems, Shackleton House London


Mounted Pebbles, GlaxoSmithKline London

Seated Bronze Figures, Prior Court, Oxfordshire


Artist Statement

I have always been interested in the history of ceramics – why and how ‘things’ are made of clay.  This interest was extended after I spent several years travelling through Africa working with various tribes and village potters and being intrigued how, with limited technology and basic tools, they were able to get such exquisite, beautiful surfaces.  I found the same inherent skills in India, Nepal Japan and New Mexico.  I tried to adopt the ideas picked up from my travels in my own work. By building up layers of textured clay combined with burnishing and polishing of surfaces, I try to achieve opposites of rough and smooth.

I have been working on large scale ceramic forms which I have placed in the landscape.  My main aim is that the work should not compete with the landscape, but evolve within the environment.  With this in mind I have introduced other minerals into the Raku ceramic surface such as iron and copper. With the elements of time and erosion, the individual piece takes on its own developing surface.

Recently, one of these large commissions has taken me again to India.  My Client suggested I make it on site.  Now I have discovered Udaipur in Rajasthan where I come for inspiration, when my studio in Bath in England gets cold in the winter months.  This has introduced me to other artists and craftsmen enabling me to work with a range of different materials, such as glass, marble, stone and Damascus steel.

In practice I go by the seat of my pants. I have always worked this way, not going by any particular rules or methods.

I find it joyful to work with many different materials.  Each has its own character, its own limits, its own tolerance – some materials fight back, some play the game.

Finally I think it’s the material that is in charge and it will only let you make what it wants.  It is my job to push it to its limits and somehow an equilibrium is made between maker and material.