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A sagging headliner can be a nightmare, and expensive to repair. We can help to fix your sagging headliner quickly and cheaply. The headliner, or headlining, is the fabric part attached to the roof of your car. It gives the roof a nice finish, dampens noise and keeps the cold out. Over time the headlining fabric can separate from its backing board, resulting in a so-called “sagging headliner”. The sagging occurs because the condition of the glue that holds it to the backing deteriorates over time. The process is accelerated if the headlining becomes wet. The glue will become moist and will dissolve. Sometimes the sagging gets so bad that it gets in the way, it’s the point at which you will need to have it fixed. To determine the size you need, measure your vehicle headliner from front to back, then add 6 inches. If the roof of your vehicle has a raised area, you may want to add another 6 inches or so. Likewise, if you want to recover your sun visors, you will want to order extra material. Measurements: 1 Yard = 36" x 60" (3'x5') 2 Yards = 72" x 60" (6'x5') 3 Yards = 108" x 60" (9'x5') 4 Yards = 144" x 60" (12'x5') 5 Yards = 180" x 60" (15'x5') 6 Yards = 216" x 60" (18'x5') 7 Yards = 252" x 60" (18'x5') 8 Yards = 288" x 60" (18'x5') 9 Yards = 324" x 60" (18'x5') 10 Yards = 360" x 60" (18'x5') For complete accuracy, take a measurement of your vehicle.
Contemporary Ceramics gallery and shop exhibits the greatest collectable names in British ceramics along with the most up and coming artists of today. Our distinguished makers are all carefully selected members of the Craft Potters Association.
Our opening hours are:
Tuesday – Saturday: 11am – 6pm
All of our makers are members of the Craft Potters Association and each of them have a story to tell.
Anna is known for her finely wheel-thrown porcelain vases and bowls and her meticulous attention to detail. Having trained at Camberwell School of Art and the Royal College of Art, she spent time teaching in the US before returning to London. She established her ceramics workshop almost 30 years ago, which is now based in South London at her home in Sydenham.
Rose’s work aims to comment upon us all as today's consumers. She employs original discarded objects as her starting point. Whether it is an 18th Century clay pipe, a 1950s jelly mould or a piece of contemporary plastic packaging, she believes the inherent value held within the transience of our collective domestic ephemera has a story to tell.
John Pollex has carved his own niche into the world of studio pottery. Translating his interest in Zen calligraphy into the spontaneous and mesmerising display of colour his work is known for today.
Adela studied the natural sciences and her work reflects a depth of observation of the natural world. Universal patterns, textures, and forms in nature, where science and art are inseparable, are Adela’s constant source of inspiration. She is particularly drawn to fragmentation and erosion, which she attempts to incorporate in her work, allowing fortuitous accidents and influences from the subconscious to enrich the process.
Chloë is based in Co. Wicklow, Ireland. After studying Fine Art Ceramics (BA Hons.), achieving a Higher Diploma in Art Education, and completing her MA in History of Art and Architecture at the University of Limerick, Chloë moved to Thomastown, Co. Kilkenny to complete the Design and Crafts Council’s two-year pottery skills training course.
Christine-Ann trained at Harrow School of Art and Technology with Mick Casson (1971-73), then worked with David Leach. In London, she started her own workshop as a member of the Barbican Arts Group (1975-83) and in 1976 became a Selected Member of the Craftsmen Potters Association and the Society of Designer Craftsmen. She now works from her home, a converted chapel near Frome in Somerset.