Charles Bound American, b. 1939



Charles Bound was born in New York City in 1939.  After graduating from Union University in 1962 with a degree in English Literature, Charles spent the next three years teaching at secondary level.  From 1965 to 1971 he worked for a publishing company, dividing his time between the USA and Africa. By 1972 he was juggling a variety of commitments; teaching; traveling; writing; and theatre work, mostly in Kenya.


Charles did not come to study ceramics until 1983, setting up a studio while working as a college technician and teaching.


In 1994 he was gifted the use of space on a farm in Wales where he could build his own wood fired kiln, which he has been working with since.

Solo Exhibitions
United Kingdom:
  • Alpha House Gallery, Sherborne
  • Anthony Hepworth Fine Art, Bath
  • Copernican Connection, Yorkshire
  • The Design Innovation Centre, Leeds
  • European Ceramics, Leeds
  • Hart Gallery, London
  • Primavera, Cambridge
Group Exhibitions
United Kingdom:
  • Alpha House Gallery, Sherborne
  • Amalgam, London
  • Anatol Orient, London
  • Artsite Gallery, Bath
  • Boothhouse Gallery, Yorkshire
  • Bradford Design Exchange
  • Candover Gallery, Hampshire
  • Collect at the V&A, London (with the Hart Gallery)
  • Contemporary Ceramics, London (with the Hart Gallery)
  • Deardon Gallery, Yorkshire
  • Hart Gallery, London
  • Leach Gallery, Studio and Museum , St. Ives
  • Monmouth Museum
  • Octogan Gallery, Whichford
  • Oxford Ceramics, Oxford
  • Powdermills Gallery, Dartmoor
  • Rufford County Park, Ollerton
  • Galerie Hamelin, Honfleur
  • Maison de la Ceramique, Giroussens
  • Printemps des Potiers, Bandol
  • Galerie Handwerk, Munich
New Zealand:
  • Fletcher Challenge
  • SOFA, Chicago


A Thought - Ceramic Review Issue 245, September/October 2010

Recently exploring the Pitt Rivers Museum, among the leg-bone flooring, shrunken heads, seal-gut parkas, medicinal/magic objects, and other open-ended varieties of paraphernalia we gather around us to help us cope with, or keep at bay, the less controllable aspects of life, along with objects in one of the sympathetic magic drawers, out slid the consideration of why people collect pots like those at an exhibition I had just attended as a participant.

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Getting it Right - Ceramic Review Issue 192, November/December 2001

Two years ago at Earth and Fire, Rufford I had a stall. Minding my business in the vaguely disinterested way one does in order to give space for people to nose about feeling unpreyed upon, I registered a woman and a man, a couple, aggressively disagreeing sotto voce about my pots. "...I do think they're lovely", she said. "They're awful", he hissed back, small bowl in hand, "look..."

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Charles Bound - The Human Form in Clay by Jane Waller

The workings of this artist are bold statements, tightly formed but freely handled, so that when you know that Charles Bound has his studio on a farm in Yorkshire, where he is close to things that matter, the rough texture and vitrified rocky appearance begin to make sense - for their ruggedness connects them direct to the earth. It is a great pleasure to have found this artist for the book. I was introduced to his work by Tony Birks-Hay at the Alpha Gallery in Sherborne and saw that its forthright strength and unfettered sensibility was dominant.

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Wood Firing

The pots began to have gradations of surface, depth, and colour where the flame slipped off them on its way along the kiln. Stuff out of the wood began to stick to the pots in varying degrees of melt, giving rough, smooth, matt, shiny surfaces, often in quite small areas. The differential heat from upstream to downstream altered the shapes of some pots, moved others to stick against each other or make shadows on the pots' sides where they blocked the flame's flow. There began from this process of more than heat and atmosphere to be a suggestion away from pots toward fired clay, bits of earth, pieces and lumps going through the firing.

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Letting Go - Ceramic Review Vol 155, 1995

The sun is low on the Yorkshire hilltop and streams in under the vast farm shed roof. There is surprising quiet as the precut bundles of slabwood from the local saw mill are separated into individual pieces and fed into the fireboxes at the front and at the midway point along the side of this reclining beast of a kiln. There is a regular cycle of charging the fire, watching the pyrometer drop while the kiln seems to gather itself up under the pressure of unburnt gases, then smoke followed by flame erupts from every opening and reaches into the sky from the 18foot chimney. The pyrometer climbs again but seems to resist reaching much beyond its previous high.

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