Edmund de Waal’s ceramic installations acknowledge a wide range of influences, including Far Eastern celadons, experimental European porcelain and the rigorous aesthetics of early twentieth century modernism. This acute sense of place in history, and characteristic wonderment at artefacts from across centuries and cultures, has often led experts and critics to contextualise de Waal’s practice within the great tradition of Anglo-Oriental ceramicists such as Bernard Leach. De Waal’s work is informed by his interest in challenging the established boundaries of his craft. Central to his practice is the absorption of ideas from other branches of the visual arts, including Science, History, Literature, Archaeology and Museology. As both a practicing artist and a distinguished art historian, he has become a leading figure in exploring the expanding field of ceramic as visual art, as installation and as architecture. He often presents his works within highly specific settings or remarkable interiors, and framed by the existing architectural fabric of the building. Although his practice is rooted in domestic pottery, de Waal’s growing interest in larger scale site-specific installations has led to his work being equally at home in major institutions and museums, reflecting on the issues that lie at the heart of collecting, preserving and displaying ceramics.