Squash Lamp Jonathan Hurley’s hand-crafted, bespoke contemporary ceramic lamps fuse innovative techniques of creation with modern design. These prize-winning lamps* combine simple shapes and decoration with a minimal colour scheme.

They are designed with a view to fit into any interior whilst also bringing an element of originality and individuality to the room. These beautiful sources of light can appear as a welcome addition to the most cutting edge interior scheme as well as an unobtrusive element in a down to earth setting.

All these lamps have a simple colour scheme often using the natural colour of the clay combined with markings brought about in the making process as a base for any further decoration. The combination of a modern design with hand craft forms a break from the norm.The lamps are bespoke items based on five primary designs: tall stripy cones, clay slabs wrapped into a conical shape, piles of “rocks”, pyramids, and squashed blocks. Each item is an individual but they are similar enough to allow paring and use in a unified interior scheme. They are about 50 to 60 cms high, have chrome lamp-heads and black wiring. Any combination of shape and colour seen can be ordered.

Jonathan Hurley works in a studio in Harefield, Near London where he also produces sculptures. He was educated at Wimbledon College of Art and Edinburgh University. He was introduced to working in ceramic by Gordon Baldwin, a potter of international repute.

*Jonathan Hurley’s lamps won silver for Best New design at Scotland’s Trade Fair in January 2009.


The work is in ceramic with fabric. The juxtaposition of the cold, hard, uncoloured ceramic and the warm, soft, often colourful fabric set up the major aesthetic and philosophical concerns of the pieces.

Aesthetically, the juxtaposition emphasises the physical characteristics of the materials. The viewer can enjoy the simple beauty of buff ceramic fired to 1200C and its texture which is highlighted by the introduction of manganese dioxide into its crevices. The strong colours in the thread or fabric are brought out by the minimal colours on the ceramic pieces.

Philosophically, one can see the ceramic pieces as individuals and the fabric as society. Society supports and cushions the individual whilst also cutting into it. We benefit from the existence of society but then society imposes on our individuality and freedoms.

Underneath the indulgence in the physical characteristics of fabrics and ceramic lie the philosophical concerns of who and what we are.

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