Bisila Noha (b. 1988, Zaragoza, Spain) is a Spanish-Equatoguinean artist, researcher and writer based in London. Working primarily with clay, her practice spans wheel-thrown vessels, sculptural ceramics and mixed-media works that explore identity, memory, labour and belonging. Through material investigations into the vessel and its histories, Noha challenges Western distinctions between art and craft while questioning prevailing notions of productivity, value and authorship within capitalist societies. A storyteller at heart, Noha is particularly interested in recovering and amplifying the contributions of women of colour to the histories of art and craft. Drawing on her Spanish and Equatoguinean heritage, as well as her experiences across different pottery communities, her work reflects on ideas of home, ancestry and collective memory. Her sculptures and vessels connect contemporary making with ancestral knowledge, creating dialogues between past and present, personal and communal histories. Noha's work has been featured in major publications including the Financial Times and The New York Times. Notable exhibitions include Maker's Eye (Crafts Council and Atherton Green Art Gallery, 2021), Body Vessel Clay: Black Women, Ceramics and Contemporary Art at Two Temple Place, London and York Art Gallery (2022), a solo exhibition at Galerie REVEL, Bordeaux (2022–23), and a solo presentation at Unit London (2023). Her work was also included in the Ford Foundation Gallery presentation of Body Vessel Clay in New York (2025). Her works are held in numerous public collections, including the Victoria and Albert Museum, Crafts Council, National Museum of Scotland, Nottingham Castle Museum & Art Gallery, The Box, Middlesbrough Institute of Modern Art, Ulster Museum and High Museum of Art. Alongside her artistic practice, Noha is an active advocate for social justice and cultural inclusion through her work across community, arts and activist organisations.