From my studio desk to Tate, these pieces I created exclusively for the Turner & Constable exhibition are now live at the Tate.
My designs, techniques of making and each individual brushstroke, is part of my ongoing conversation between past and present design. Exploring historical pieces and bringing them to contemporary places.
As the year begins, I’m looking forward to continuing that conversation, one collection at a time.
We are thrilled to share this behind-the-scenes look at the incredible process of creating the ceramic jewellery for the Turner and Constable Exhibition - all lovingly hand-made by the talented Eloise Rose @eloiserosedesignstudio
Each piece is shaped, carved, and glazed with the same attention to light, landscape, and emotion that defines the works of Turner and Constable.
Watching Eloise transform raw clay into wearable art is magic.
These are available exclusively at Tate online and in-store:
.uk/turner-and-constable
#TateBritain #TurnerAndConstable #CeramicJewellery #BritishArt #HandmadeInLondon #Craftsmanship #ArtistSpotlight #EloiseRoseDesignStudio
I’ve never worked in a traditional sketchbook. My ideas end up on scraps of paper, train tickets, backs of meeting notes (shhh), and across the walls of my studio, anywhere I can pin things up and stay fully immersed in the story I’m building.
So when Tate asked for my sketches, notes, designs, and all the loose bits that usually live in a chaotic pile around me, I was honestly overjoyed because it felt like they really understood and loved my process and wanted to celebrate it.
Tate took all of the scribbles, the fragments, the ideas caught on scraps of paper and turned it into the most thoughtful collage behind my finished jewellery. Seeing my work framed by the very sketches that shaped it feels incredibly special to me. It’s such an honour to have this collection held and displayed with this much care and understanding of the story.
Before adding lustre or setting in silver, this is what the painted porcelain looks like, fresh out of the kiln. They’re like tiny delft tiles, painted with the smallest paintbrush.
I can’t wait to finish setting these in silver ready for my summer collection launch in a few weeks time
LOSING SIGHT OF THE SHORE - my most personal collection so far.
Inspired by my journal entries written during periods of feeling lost, isolated, and emotionally adrift. every sketch and object became part of a visual ship log , tracing uncertainty, longing, and the constant waves of hope and loss that comes with navigating your own path. Learning that sometimes you have to lose sight of the shore before you can discover what you’re capable of.
As the Turner and Constable exhibition closes today, my work with Tate Britain comes to an end.
This project has been a significant moment within my practice, an opportunity to engage directly with the work of Turner and Constable, and to respond through material, process, and form.
My work is rooted in an ongoing dialogue with history, considering how objects, narratives, and emotions are carried through design, and how they can be reinterpreted within a contemporary context
This collection became a way of translating those ideas through porcelain and glaze, exploring how atmosphere, movement, and feeling can exist beyond a traditional canvas and within a ceramic piece.
April in the studio so far has felt a little full and a little empty at the same time.
As wholesale orders head out and the Tate collection comes to a close contrasting with my spring/summer collection slowly taking shape plus alongside a few other pieces in progress, I am a little in between and underneath all of them.
I work best in slower, more focused blocks of time so moving between everything at once has felt different. The studio too is a bit more chaotic than usual with each corner holding something separate
But as things begin to finish and the new projects start to settle in, I think it will all start feeling a little clearer again
My current exploration into combining materials and techniques has led to this, a ring and pendant where porcelain ships meet organic form flowing silver. These pieces explore the sea as a space of escape and transformation, carrying history, memory, and the story of moving beyond what is familiar.
Studio notes:
Late nights in the studio always feel different.
Everything feels like it flows more. The day falls away, and takes away with it any sense of pressure or expectation.
I find it easier to create here and to lose track of time, to follow something without needing to explain it to myself or justify it.
There’s no real reason or purpose. Just the work, unfolding as it wants to.
I feel a sort of creative freedom that I don’t always find in the daylight.
It was such a privilege to create a collection inspired by J. M. W. Turner and John Constable for Tate Britain, two artists who have shaped English art history so profoundly.
Spending time with their work, looking closely, and drawing out the elements that spoke to me felt incredibly powerful. As so often in my own work, I found myself drawn to water and the way it can hold a sense of freedom, of escape, of something just beyond reach to go towards. Even in these familiar British landscapes, there’s a softness, a dreamlike quality.
I’ve always loved how water can be a metaphor for so many things. Each piece holds a story, but it’s never fixed because it becomes something personal and different, in the eyes of the person who sees it.
Photography by @imogen__rosemary
A few notes from the studio, written in a slightly disjointed way as I’m rather tired, distracted and hormonal.
Plates in progress, with small (tall) ships taking shape, the kiln is working steadily in the background.
The light has been particularly beautiful this week. It moves slowly across the studio space, catching on surfaces and highlighting the different corners at different times. I’ve found myself pausing to notice it more and wanting to photograph it.
I’ve been picking up my camera more often. Not to capture anything perfectly, just to observe and to document what’s there.
A month of experimenting. Of noticing. Of letting my work, and everything around it, evolve.
