7 Spot Pottery is a 360sq.ft ceramic studio located in Islington Mill, Salford.
We run handbuilding and throwing courses, and offer studio memberships.
We currently have 10 members from all walks of life who either work as artists or enjoy ceramics as a hobby. Membership includes storage space, 40 litres of kiln space per month, access to house glazes and equipment, and 24hr key holder access to the studio.
We pride ourselves on being an inclusive educational environment for people of all ability levels and experience.
We believe in the benefits of clay as a therapeutic tool for everyone, whether as a personal practice or professional endeavour.
Our studio equipment includes 2 toploading kilns, an extruder, a slab roller and 7 pottery wheels. Access to basic stoneware glazes & stoneware clay is also available.
We can be found at this address (links to Google Maps):
Parking & access:
Our site does not have private parking facilities, however there is plenty of roadside parking available close by on James Street or around the Chapel Street area. The studio is a 10 minute walk from Salford Central train station, or 15 minutes walk from Albert Square.
The studio is located on the first floor of a renovated Victorian mill, so unfortunately we do not currently have lift access. We do hope to get this in the future so that our space can be fully inclusive of people with mobility issues. We apologise for the inconvenience.
Calendar of studio events:
Please note: Private classes are available outside of opening hours. Please contact us to arrange these and find details on our booking page.
Studio managers & tutors:
Sheenie has over 10 years experience of ceramic practice, specialising in the potters wheel. She studied BA(hons) in History of Art, and went on to complete the Design & Crafts Council of Ireland’s renowned Ceramics Skills and Design Course in 2018.
Sheenie works as studio technician and throwing tutor at 7 Spot, offering private tuition at beginner and intermediate level, and teaching scheduled courses.
"Always present in my work are the eclectic visual influences of my art historical training. The influences for form and function stem from the opulence of the Netherlandish vanitas paintings of the 16th and 17th century. The new imports of exotic tea and flora called for the ingenuity of the craftsman of the age to create luxury objects, for new purposes, for consumption of a burgeoning merchant class. As much as we have changed, we remain constant in our love for tea and flowers. The imagery of the past is alluring and decadent, and I aim to revitalise this zeitgeist for luxury."