The Titirangi Potters club was formed way back in 1974 and still has a thriving membership today. With more than 25 active members, with a wide range of skills and experience, there is always ample opportunity to broaden your knowledge.


We are housed in a beautiful setting within the Titirangi Community Centre, just down from the main village. There is ample off-street parking, except for the last Sunday of each month when the car park becomes Titirangi's famous monthly craft market.


We are a group of people with a common interest, sharing a physical venue in both a social context and for the instruction and encouragement of creative people interested in different aspects of pottery and ceramics from within the local community.


Our studio has a great deal to offer. Four kilns (3 x electric + 1 Gas). Four brand new Talisman Wheels, clay extruder, slab roller, numerous moulds, glazes, shapers and so the list goes on. Not to mention a well lit and comfortable environment accessible at anytime.


Members are able to utilise the club facilities seven days a week. As well as weekly club-night, the club organises group activities such as Raku firings, salt, wood and pit firings, day trips and studio visits to local potters. Classes are also offered to members of the community.

Titirangi Potters Open day on Saturday 27 March, from 10 am till 4 pm. For some hands-on action: we have a Raku firing, Paint a Pot and Paint a Tile! We will also be demonstrating the wheel and handbuilding and will have a display of our work. Pottery exhibition at West Coast Gallery in Piha by members of the Titirangi Pottery club. Lorraine Barnett, Richard Naylor, Karen Woodgate and Lorraine Armstrong invite you to come and see their exhibition Five.Two starting on Saturday 14 November at 14.00 hrs. The Titirangi Pottery Club will have it's annual pottery exhibition on the 14th and 15th of November 2009, 10 am to 4 pm, at the French Bay Yacht Club, Otitori Bay in Titirangi. Starting 14 november 14.00 hrs at West Coast Gallery in Piha, Five.Two exhibition by Lorraine Barnett, Karen Woodgate, Richard Naylor and Lorraine Armstrond.


Click on the 'CONTACT' button above for guidance on how to make contact with one of our studio's committee members of just click here to email us with your questions.

Short history of pottery

Pottery is known since ancient periods, when people did not know how to speak and most certainly not how to write. Therefore, the only way to find out about it from the earliest periods of its existence is through archeology. That way proofs can be found, but the first period when people started making them can't be exactly predicted. What we know about the very beginnings is that we could only reach about 24 - 31 thousand years back, so the earliest known ceramic objects are the Gravettian figurines. One interesting thing about this, is that the earliest forms known to us are not vases or commonly useful objects, but they are figures. Looks like we have practices art in this form much earlier than we thought.

Because of its huge durability, archeologist were able to reconstruct even shattered objects out of fragments. The oldest available vessels are vases, from the period Jomon in Japan, they are about 10 - 12 thousand years old and are preserved in the Tokyo National Museum. But is there any way we can know when people started making these objects and what their purpose was? Well, there are a few theories about this, and the most recognized one says that it could not be before the last Ice age. So they can only be less than 25 thousand years old and could only develop in regions with high resources of clay. Don't be confused of the 31 thousand years old ceramic figurine which we mentioned before, that number is the upper limit which was established by Carbon dating.

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Pottery has taken its final and modern form in China, where it is something people do for almost 25 thousand years now. A fun fact: China's Emperors used to love pottery that much, that they would order thousands of vessels every year from their best potters. Those would be under such pressure that they would, since the process of burning them wasn't developed in that time, destroy almost 90% of all vessels they made, just because they found a little mark or imperfection. That often resulted in only one or, if they had luck, two good ones in one 'burning tour', during which they usually would make more than 40 ones.