Thank You

Over the years I have been greatly supported and believed in by my wonderful family, friends and many colleagues, without this encouragement I am sure that  my journey would not of been such an exciting and enjoyable one.

I was very thankful for The Brian Mercer scholarship which was given through the Royal British Society of Sculptors, which enabled me to carry out a three month residency at Stoudio SEM in Pietrasanta, Italy.
The theme and source of my inspiration for the work I created in Italy was derived from ‘drapery’. The idea of creating fluidity and delicateness in a solid and dense material really fascinated me. Working with a variety of processes to create my form, I then heavily carved into it to achieve the illusion of lightness, playfully working with light to enhance this notion.
During my residency at Studio Sem I obtained an enormous amount of invaluable knowledge in working with stone and on a personal level I gained so much insight and increased awareness. Three months of being a part of such a hardworking, dedicated, inspiring, creative, joyful group of people was not only delightful,  it was a very memorable and productive experience which has had a great impact on my artistic working practice.
The experience has definitely impacted on my working methods and the constraints and restrictions of the new tools and materials have reinforced and refreshed my working strategies and enabled me to arrive at new possibilities and solutions.

It has been very helpful to receive support through funding from the Art Council and the Craft Council over the years which has helped towards projects, exhibitions and equipment.

I would like to thank 20-21 Visual Arts Centre, especially Dominic Mason for his guidance throughout the project ‘Dream Made Manifest’ and the rest of the team for their much-appreciated support, and the opportunity to work within such a wonderful environment. The exhibition toured to 9 venues over a four year period.
Thanks to John Hardwich for his invaluable experience in editing the texts for the ‘Dream Maade Manifest’ publication, all the writers for their contributions and support, Jean Vacher for her support of the project from the outset, Helen Joseph for her belief and recognition from an early stage in my career, Alan Grieve for his continued encouragement and patronage, Peter Randall-Page for his kind advice and for giving me the opportunity to work at his studios and for the kind loan of his materials and tools, Oliver Ulmer for taking time out of his busy schedule to write and Andrew Lambirth and Edmund de Waal for their wonderful essays. Martin Brotherich at Hansons, Accrington Bricks for allowing me the use of their materials and facilities.

I would like to thank Paul Heaton sincerely and the whole of his team at Reform Creative for their inspiring work over the years and for producing such wonderful publications.

Thank you to Emmanuel Cooper and Jonathan Harris for their contributions to the publication of ‘Carved Earth’. As well as Bolton Museum & Art Gallery for touring the show, the exhibition toured to 11 venues over a three year period.

Just like to say a big thank you to all the photographers, especially Jonathan Keenan, who I’ve worked with over the years on different projects and shooting sessions.


  • I love this artist’s work. How she keeps her molten flowing themes through different media – stone, concrete, wood and even glass. Long to touch them. What a unique eye and hand she has. Wonderful.
    – Maureen Lepman

  • Cassell’s Work Is Subliminal in its originality, having no parallel in the sculptural or crafts genres, whose borders it crosses.
    – Jean Vacher, Collections Manger, Crafts Study Centre, Farnham

  • Halima Cassell is a maker of considerable versatility, who has extended her signature work in clay to a range of new materials, including marble, glass and porcelain
    – Andrew Lambirth, Art Critic - Spectator Magazine

  • Cassell’s work encompasses and generates complexity and surprise. All of her sculptural work shares a language of geometry and volume but each is intriguingly different
    – Elli Herring

  • Her main preoccupation and sculptural impulse is to penetrate beneath the skin of the form to reveal the structure within – the crystalline seed of the stone, or the skeleton-like armature she perceives within the clay. She does not carve exteriors but reveals interiors – the folded abstract inner landscapes of her singular and highly imaginative vision.
    – Andrew Lambirth, Art Critic - Spectator Magazine

  • She was sketching constantly and continually sought to transpose her drawings into sculptural forms. The surface as well as the shapes emerged together in sculpture which often combined enormous complexity with simplicity and unity.
    – Helaine Blumenfeld OBE FRBS Dlitt

  • The most inspiring ceramic work I have seen in thirty years! Beautiful, mesmerising, powerful and thoughtful. Genius! Love, love, love this work.
    – Judith Ramsgate, 53 years old

  • She set very high standards for herself and was tireless in her efforts to reach them. After just three months she was able to carry out complex, compelling, delicate and dynamic work.
    – Helaine Blumenfeld OBE FRBS Dlitt

  • Her profound understanding of the geometric rules governing any given pattern, allow her to bend, or even break them.
    – Peter Randell-Page, Sculptor

  • The geometry and the mathematics involved in Halima’s work have the same effect on me as listening to Bach: she manages to get the same essential harmony of shape, form and detail. Her pieces are deeply fashioned, which is unusual in ceramics
    – Eric Knowles (Ceramics Expert)