Tessa Peters studied Fine Art at Winchester School of Art and has an MA in the History of Design from Middlesex University.
She works as an independent curator in the public and private sector having produced exhibitions for Contemporary Applied Arts (1990 – 94, 2012), the Barbican Centre (1996 – 99), the Bowes Museum (2002), Pitzhanger Manor (2002), Dr Johnson’s House (2009), the Crafts Study Centre (2011), Marsden Woo Gallery (2010 – 15), the Anthony Shaw Collection at York Art Gallery (2016-17), and the British Ceramics Biennial (with exhibitions at the Potteries Museum & Art Gallery, Stoke-on-Trent, and Hove Museum & Art Gallery, 2019 - 20).
Some of Tessa’s recent publications include:
'Valuable Space' (Profile of artist Nicole Polonsky), in Printmaking Today, Vol 30, Winter 2021, pp. 10-13.
‘White Gold’, in Critical Reading: Functional Dissonance (Project 7 ½ / Korea Arts Council, 2021), pp. 47-54.
‘Tacit Knowledge & Creative Possibility’ (catalogue essay), in Bak-Go-Ji-Geum: Southbound “Buncheong” (Project 7 ½, Korea / ITB, Bandung, Indonesia, 2020).
‘Humanism, Existentialism & Art’ (catalogue essay), in Humanism (Clayarch Gimhae Museum, South Korea, 2018), pp. 170-179.
‘Ceramic Art in Social Contexts,’ in Contemporary Clay and Museum Culture, ed. C. Brown, J. Stair and C. Twomey (London: Routledge, 2016)
‘Seeing Things Collected Writing on Art, Craft & Design, Alison Britton’ (Book review) Journal of Modern Craft 8:1 (2015)
Tradition and Innovation: Five Decades of Harrow Ceramics, ed. Tessa Peters (London: University of Westminster, 2012)
‘Brazil, the Cultural Contemporary’ (Conference review) Craft Research 2:1 (2011)
Memoranda, eds. Tessa Peters & Janice West (London & Farnham: Luminous Books/Crafts Study Centre, 2011)
Tessa's research interests include the study of participatory art projects and points of crossover between different art and design fields.
She is a member of CREAM and the Ceramics Research Centre (CRC).