Importantly, these large, rounded pieces are lidded vases, drawing on the historical relationship with the female form – something that is surely emphasised by many of the works’ prominent breasts – as well as ceramics’ history of being both functional and non-functional, a vehicle for holding things or for telling stories. Peters states that “(the) Goddesses are rounded. Their bodies are vessels, drawing on the long tradition of the vase as representative of the female body.” The void at the pieces’ heart feels symbolic of fertility, of child birth, and of creation. It’s a potent brew.

Mythology captivated Peters as a child when her parents read bedtime stories of the Greek Gods. As she once explained: ‘They took up residence in my head and never really left.’ It’s a seam she has mined throughout her still-nascent professional career, combining references to ancient cultures with a winning sense of narrative. She graduated from Central Saint Martins in 2017, for instance, with Secrets of the Hidden North. For the collection, she played the role of an archaeologist, who discovered the foundations of a small settlement while rambling in Northumberland National Park, uncovering a hoard of artefacts that combined stories of Romulus and Remus with woodland creatures.

In Saints & Spirits, meanwhile, she spun a yarn about a collection of figures – animal and human, pagan and Christian – that had been uncovered in St Etheldreda’s Church in London’s Holborn. The pieces came with an intricately researched backstory, which suggested they offered the viewer a glimpse into an alternative history, a bastardised form of Christianity, ‘which accepted and absorbed the myriad beliefs and religions across the globe.

There aren’t many contemporary ceramicists who allude to Trojan vases discovered by German archaeological excavator Heinrich Schliemann in 1871 as she does in this latest work. In short, she is a smart, genuinely intriguing and very welcome new voice.