A Guide to British Contemporary Makers Worth Collecting in 2026
British contemporary making in 2026 is distinguished by a rare convergence of technical mastery, conceptual clarity, and material innovation. In this context, a “maker” describes an artist or craftsperson who works materially, producing objects that are as much cultural artefacts as they are functional or decorative pieces. Disciplines range from ceramics and furniture to metalwork, glass, and textiles, but all share a commitment to process, provenance, and material integrity.
Collectors are increasingly attentive to the story of making. The origin of materials, the traditions informing technique, and the dialogue between past and present now influence both aesthetic value and market demand. This guide highlights the names shaping Britain’s contemporary making landscape, the materials and processes defining the year, the market forces at play, and where to discover work that will endure in both cultural and aesthetic terms.
The Landscape of British Contemporary Making in 2026
The UK’s making ecosystem is rich and decentralised. In London, galleries such as Sarah Myerscough Gallery, Carpenters Workshop Gallery, and Flow Gallery present work that bridges art, craft, and design. Regionally, spaces like Make Hauser & Wirth in Somerset and The Scottish Gallery in Edinburgh give voice to both established and emerging practices.
The institutional framework remains strong — Crafts Council, V&A Museum, and Yorkshire Sculpture Park continue to champion material-led work. Fairs such as Collect at Somerset House and London Craft Week bring national attention to makers who might otherwise operate quietly in rural studios.
Internationally, British makers are respected for precision, restraint, and their ability to merge utility with sculptural presence. This cross-appeal is increasingly valued in a global market where the distinction between art object and design piece is dissolving.
Notable Makers and Studios to Watch
Emerging Names
Kinsley Byrne — Cornwall-based, Byrne produces limited edition forms in wood, plaster, and bronze, often through direct carving. His work explores symbolic and metaphysical themes, with references to science and philosophy.
Olly Fathers — Known for highly precise, digitally planned marquetry using wood veneers, Fathers bridges graphic composition with tactile craftsmanship. Based in Brixton, his work reinterprets traditional inlay techniques for a contemporary audience.
Darren Appiagyei — London-based woodturner inspired by Ghanaian heritage and the natural imperfections of his materials. His vessels celebrate knots, cracks, and bark textures, and have been shown in settings from WOW!house to specialist craft fairs.
Laura Ellen Bacon — Creates monumental woven sculptures using willow and natural fibres. Her large-scale installations, exhibited at Collect and in museum contexts, transform perceptions of basketry through their architectural presence.
Noel Donellan — Former luxury decorative arts specialist now creating sculptural ceramic forms with intricate inlay. His rapid inclusion in Homo Faber and other design showcases marks a sharp ascent in profile.
Alexander Webb / Three One Four Studio — Co-founded with Neil Walker, Webb produces luxury bespoke furniture using hand-painted acrylic, lacquer, polished bronze, and resin. Their debut at Salon Privé drew attention for its synthesis of art furniture and collectible design.
Ane Christensen — Metalworker whose sculptural vessels and forms blur the line between functional object and abstract composition. Frequently seen at London fairs, her practice bridges traditional craftsmanship and conceptual art.
Donald Baugh — Works closely with the Forestry Commission to source sustainable timber for lighting, furniture, and sculptural vessels. His confident, clean-lined forms have been shown through Yassel Gallery and featured in leading design publications.
Established Figures with New Directions
Eleanor Lakelin — Carves exclusively from British-grown, often naturally felled timber, revealing intricate grain patterns. Her award-winning sculptural forms are held in the V&A, MAD Museum New York, and private collections worldwide. 2026 sees her experimenting with tinted resins integrated into carved wood.
Dame Magdalene Odundo — One of the most celebrated ceramicists globally, Odundo’s hand-built burnished vessels reside in major museum collections. Her market remains strong, with record auction results and recent exhibitions reinforcing her cultural stature.
Tom Raffield — Innovator in steam-bent wood design, producing lighting and furniture from sustainably sourced Cornish timber. His work bridges design and architecture, with commissions for public gardens and private interiors.
Tom Vaughn / Object Studio — Combines traditional cabinetmaking with experimental form and materials. His practice focuses on sculptural yet functional furniture, often incorporating metals and composites, with recent work exhibited at Collect.
Nina Casson McGarva — Glass artist trained in France and Denmark, known for kiln-cast forms that resemble organic growths. Winner of the Worshipful Company of Glass Sellers Prize, her work merges technical mastery with an almost botanical sensitivity.
Ash & Plumb — Creative partners Barnaby Ash and Plum Plumb, producing turned wooden vessels from sustainably sourced timbers. Their 2026 exhibitions span Collect Open, Eye of the Collector, and Homo Faber, each highlighting their refined raw aesthetic.
Materials and Techniques Defining the Year
Material literacy remains a collector’s greatest ally. In 2026, particular attention is on:
Large-scale ceramic sculpture — Makers such as Akiko Hirai are producing monumental forms with layered, almost geological glazing.
Patinated metals — Seen in the sculptural vessels of Donald Baugh and the oxidised panels of David Gates.
Innovative textiles — Makers including Margo Selby are weaving with metallic threads and unconventional fibres for novel light effects.
Composite materials — Studio experiments blending resin with natural aggregates are producing tactile surfaces reminiscent of bespoke terrazzo.
Market Context: 2026
The market for British contemporary makers remains robust, with several trends shaping collector behaviour:
Mid-career strength — Collectors are gravitating towards makers with 10–15 years’ practice, offering both innovation and stability.
Institutional alignment — Works featured in museum collections or biennial exhibitions carry heightened desirability.
Functional–sculptural crossover — Demand is high for pieces that can anchor both domestic and gallery settings.
Sustainability premium — Provenance of materials is increasingly factored into valuation.
Case Studies
1. Eleanor Lakelin at Sarah Myerscough Gallery
Lakelin’s 2026 series integrates translucent resin into carved burr oak, creating an interplay between organic grain and jewel-like inlay. The works were first shown at Collect, where they attracted strong private sales and institutional enquiries.
2. Laura Ellen Bacon at Collect 2026
Bacon’s site-specific willow installation filled an entire room at Somerset House, demonstrating how basketry techniques can operate at architectural scale. The piece was acquired by a regional museum for its contemporary craft collection.
Key Takeaways
2026 blends heritage craft with new material innovation.
British makers excel in functional–sculptural duality.
Mid-career and institutionally aligned makers are driving market interest.
Sustainability and provenance are increasingly tied to value.
Frequently Asked Questions
Q: Which British makers are attracting attention in 2026?
A: Names include Kinsley Byrne, Eleanor Lakelin, Dame Magdalene Odundo, Tom Raffield, and Laura Ellen Bacon — all producing significant new work this year.
Q: Where should I start if I’m new to collecting British makers?
A: Visit fairs such as Collect and London Craft Week, and explore galleries like Sarah Myerscough Gallery, Flow Gallery, and Make Hauser & Wirth.
Q: Are early-career makers a good acquisition?
A: Yes, provided their work shows strong material identity, critical recognition, and consistent quality.
Q: How do I assess quality without technical training?
A: Examine finish consistency, structural stability, and the relationship between concept and execution. Compare across makers in the same medium.
Further Exploration
How to Identify a Promising Emerging British Artist — Learn to recognise early signals of lasting talent.
Seven Materials Every Design Collector Should Recognise — Build the material literacy to collect with confidence.
How British Art Fairs Shape Collector Tastes — Understand how events influence market trends.
Glossary & References
Studio Practice — A maker’s professional workspace and the body of work produced within it.
Editioned Design — Limited production runs of a particular work or design, often numbered and signed.
Collectible Craft — Objects made with a high degree of skill and conceptual intent, valued for both use and display.
References:
Internal Links:
How British Art Fairs Shape Collector Tastes
Seven Materials Every Design Collector Should Recognise