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https://www.adriansassoon.com/artists/felicity-aylieff/
Felicity Aylieff is one of the UK’s most innovative contemporary artists working in clay. She established her reputation as a maker of large-scale, sculptural ceramics at the Royal College of Art in 1996.
http://www.artnet.com/artists/felicity-aylieff/
View Felicity Aylieff’s artworks on artnet. Learn about the artist and find an in-depth biography, exhibitions, original artworks, the latest news, and sold auction prices.Nationality: British
https://www.invaluable.com/artist/aylieff-felicity-hdabxa7byz/
Felicity Aylieff (British, b.1954) Felicity Aylieff (b. 1954) Monumental Vase; New Pots on Pots Porcelain with hand-painted Fencai over-glaze enamel 55 ½ in. (141 cm.) high FELICITY AYLIEFF (B.1954) Blue & White Vase, 2018
https://www.pinterest.com/chlpe/felicity-aylieff-ceramics/
Felicity Aylieff's work provokes an immediate sense of awe, both through its monumental scale and the expressive, yet considered, handling of surface decoration. Deeply-rooted within a context of traditional Chinese ceramic-making, yet immediately contemporary, her work can be found in some of the UK's most prestigious public collections.39 pins
http://www.redhouseceramics.com/about
Felicity Aylieff was born in the UK, She has a Bachelor degree in ceramics from Bath Academy of Art (1972-1978), a teaching degree from Goldsmiths College, London (1978 – 1979), and an M Phil research degree in ceramics from the Royal College of Art, London (1993-1996).
https://www.artist-info.com/users/artsitpublicpage/1330
Felicity Aylieff: 8 exhibitions from Sep 1996 - Jun 2018, exhibition venues worldwide of artist Felicity Aylieff, Exhibition History, Summary of artist-info.com records, Solo/Group Exhibitions, Visualization, Biography, Artist-Portfolio, Artwork Offers, Artwork Requests, Exhibition Announcements
http://www.baacorsham.co.uk/whosartnow3.htm
Felicity Aylieff’s most recent sculptures have in part moved away from their ceramic roots, her pared down forms are now more monumental and abstract in nature. Yet at the same time some of the more significant issues of this work still remain within the sensual and tactile domain of ceramics with the concerns of form, mass, and surface treatment, still paramount.
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