At Regent’s Park, nineteen galleries revealed ceramics in many registers—delicate, monumental, and everything in between.
By: MoCA/NY & Ruth Gibson
October 22, 2025
The Regent's Park Pk Sq W, London NW1 4LL, UK
From October 15–19, 2025, the twenty-third edition of Frieze London returned to The Regent’s Park, drawing 168 galleries from forty-three countries and a record ninety thousand visitors from 108 nations. Amid the crush of booths and installations, Ruth Gibson traced a ceramic throughline—a quiet insistence of clay as both medium and message.
At PIT Gallery, the whimsical, painterly figures of Viola Frey loomed with their signature theatricality, while P420 offered Shafei Xia’s porcelain figurines as an intimate counterpoint. The Albanian Prime Minister, Edi Rama, showed layered ceramic sculptures at Société Berlin, and at Selebe Yoon, floor-bound installations by Mélinda Fourn expanded the field of view downward with an array of deformed vessels. Grayson Perry’s narrative vessels at Victoria Miro anchored the familiar terrain of contemporary British clay, while at Vadehra Art Gallery, Himali Singh Soin transformed glazed porcelain into a play of light and reflection, catching the eye even in the fair’s visual cacophony.
Taken together, these presentations revealed ceramics not as a singular tradition but as a field of shifting registers—monumental and delicate, structured and scattered, declarative and whispering. Here, we spotlight nineteen galleries took center stage.
The Pit Installation at Frieze London 2025 | Photo Courtesy: The Pit
Viola Frey | foreground: Untitled (Bricolage Bust with Fan Nose and Elbow on Pitcher, Untitled Round White Table) | c. 1981, c. 1987 | Ceramic and Glazes | 54.5 x 38.5 x 36.25 in | Photo Courtesy: The Pit
Viola Frey | Untitled (Bricolage with Pink Oval Head in Hat) | 1980-1983 | Glazed Ceramic | 29.25 x 21.75 x 14 in | Photo Courtesy: The Pit
Viola Frey | Untitled (Bricolage Bust with Hands to Mouth) | 1980-1983 | Glazed ceramic | 41 x 15 x 14 in | Photo Courtesy: The Pit
Viola Frey | Untitled (Blue Hands and White Fan) | 1997 | Ceramic, Glazes, and Egyptian Paste | 26 x 26 x 4.5 in | Photo Courtesy: The Pit
Jennifer King | fallen out of myself | 2025 | Stoneware, glaze | 14 x 13.5 x 1.5 in | Photo Courtesy: The Pit
Jennifer King | in the time of familiars (orchidaceae) | 2025 | Stoneware, glaze, wire, moonstones, quartz crystals | 22 x 18.25 x 13.25 in | Photo Courtesy: The Pit
Jennifer King | raven song, raven flight (helianthus) | 2025 | Stoneware, glaze, wire, moonstones, quartz crystal | 20 x 17 x 12 in | Photo Courtesy: The Pit
Maryam Yousif | Habibti in Rosette Dress (Blue Dust) | 2025 | Glazed stoneware | 12.5 x 10 x 7.5 in | Photo Courtesy: The Pit
Maryam Yousif | Looking Out III, 2025 | Glazed stoneware | 20.5 x 10.75 x 2.5 in | Photo Courtesy: The Pit
Edmund de Waal | three secret poems | 2025 | Porcelain, alabaster, marble, gold, wood, aluminium and glass | 170 x 110 x 13.5 cm | Photo Courtesy: Ruth Gibson
Detail shot of three secret poems | Photo Courtesy: Ruth Gibson
Galerie Peter Kilchmann Installation at Frieze London 2025 | Photo Courtesy: Galerie Peter Kilchmann
Teresa Margolles | Mujeres sin rostro (Women without faces) | 2025 | Ceramic pot made with clay and mineral pigments from Paquimé (Chihuahua) | 42 x 45 x 45 cm | Photo Courtesy: Ruth Gibson
Grace Schwindt | A Memory of a Leaf | 2025 | Glazed ceramic patinated bronze | 17 × 42 x 39 cm | Photo Courtesy: Ruth Gibson
Grace Schwindt | Bug with a Bone | 2025 | Ceramic and patinated bronze | 52 x 40 x 40 cm | Photo Courtesy: Ruth Gibson
Kemang Wa Lehulere | Native life in South Africa (After Sol Plaatjie) | 2025 | Wooden shelving, brick pavers, acrylic paint, and resin | 208 × 90 x 17 cm | Photo Courtesy: Ruth Gibson
Detail of Native life in South Africa (After Sol Plaatjie) | Photo Courtesy: Ruth Gibson
CONTRIBUTOR
Ruth Gibson combines a love of photography, printmaking, and ceramics to evoke a sense of place. She creates screen-printed monochromatic ceramics enhanced with touches of glaze, including framed wall art, sculptures, chunky platters, and jewellery. Ruth responds directly to place and landscape. Incorporating ‘found clay,’ these objects question the very nature of material itself. Visit her website
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