Philip Gibson
Philip Gibson was born at Wolstanton, the site of one of Stoke on Trent’s once great collieries, which overlooks Burslem and the heart of the Staffordshire Potteries. In this close-knit community, his father ran his own business as a gent’s hairdresser for over fifty years, while his mother worked at Royal Doulton as a glost ware selector. Indeed, most of Philip’s family either worked in the local coal mines or the pottery industry as had generations before them.
Even in his early school years, Philip showed a strong interest in art. After attending Newcastle School of Art, he moved on to gain a BA Hon., followed in 1978 by a Masters degree in Ceramic Design at the North Staffordshire Polytechnic, now Staffordshire University.
After completing his education Phil went to work as a designer for Josiah Wedgwood and William Adams for nearly nine years. During his time at William Adams not only did Philip have the privilege of working alongside the legendary Susie Cooper during her final years at Wedgwood but he also met his future wife, Ruth. They now have two wonderful children, Ben and Laura. When William Adams closed in 1987, Philip decided to pursue a career as a freelance designer and artist specialising in ceramics. Until 1997 he worked with leading pottery companies and print manufacturers on many varied and interesting commissions. It was a busy period, with Phil left to promote his own work, run his own quality design business and maintain his creativity all at the same time. Phil readily accepts that he would not have been as successful as he has without the support of his wife and family. Indeed, he claims that Ruth has “has always been a great help with my work, especially when I was freelance”.
In 1997 Phil came into contact with Moorcroft’s Hugh Edwards after an introduction from his brother-in-law, Trevor Critchlow, the company’s senior modeler and mould maker. Hugh explained that he was looking to expand the availability of quality Moorcroft designs, and Phil was invited to create a design in the Moorcroft idiom. That design was later to become known as Flame of the Forest, a piece of artwork that richly deserved the accolades piled on it. Indeed, many retailers, including Liberty, have suggested Flame of the Forest is one of the best-structured designs to come from Moorcroft in the last 70 years.
Later the same year, Phil began preliminary sketches for his magnificent Trout range, destined to be launched in 1999 to great acclaim. Phil’s inspiration generally comes from his direct experiences with nature. “ I like to develop my ideas and theme my collections for Moorcroft around my own direct experiences with the movement and colour that is to be found in nature. My designs form a collection of shapes and I like to vary the design within the collection, to form an interesting whole.”
In September 1998, as Phil’s involvement with Moorcroft intensified, Hugh invited him to join the Moorcroft Design Studio as a full time member. Phil agreed wholeheartedly.
“I have tried to push Moorcroft to the limits of its tubelining and decorating ability and at the same time be adventurous with new glaze colours. I never cease to be amazed at what can be achieved by a very talented group of people in our workforce at Moorcroft. It is they, who bring my ideas and designs to life!”
Philip receives much of his inspiration from nature. He tells us, “I like to develop my ideas and theme my collections for Moorcroft around my own direct experiences with the movement and color that is to be found in nature. My designs form a collection of shapes and I like to vary the design within the collection, to create an interesting ‘whole.’
In addition to his work as a designer, Philip has illustrated many climbing and walking guidebooks. This is the result of his strong interest in climbing which has been his passion outside of design for nearly all his life. He can recall many memorable climbs in the British Isles, both sea cliff and mountain crag with his younger brother, Gary. Philip has also travelled to the U.S.A. and throughout Europe in pursuit of his hobby. One particular instance Philip remembers vividly, was a climb of the Lost Arrow Spire, in Yosemite. He encountered a rattlesnake in the back of a crevice he was climbing, which almost frightened him off the Spire. Collectors can rest assured that rattlesnakes will never be appearing on Moorcroft pots! Well at least not designed by Philip.
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