This issue focuses on Working Potters, artists who make a living through their ceramic practices. It’s fascinating to hear the perspectives that follow from four artists with different backgrounds, geographic markets, approaches to working, and time spent as professional potters—ranging from 4 to 36 years. Similarities that mark their stories include an emphasis on following opportunity, prioritizing personal fulfillment, and combining chance with hard work. As someone who does not earn a living directly through my ceramics practice, I especially appreciate the transparency with which the Working Potters invite us to glimpse their studios, schedules, and production breakdowns in each feature’s Career Snapshot sidebar. I applaud their effort and courage in pursuing a life as full-time artists.
With no prior experience, Tanya Gomez took a job working as a chef on a yacht and traveled the world. Upon returning to the UK, Gomez completed her studies in ceramics, began a career as an artist, and remains inspired by the sea even 20 years later. Many of the big moments in her career have come from persevering and viewing opportunities that arose as motivation to continue.
Akira Satake has worked as a potter for 23 years, since changing paths from a career in music in his 40s. He operates a studio and gallery in the River Arts District in Asheville, North Carolina, and attributes his current success in selling work online rather than in person to practices he adopted out of necessity during the pandemic.
The plate shown on this issue’s cover was made by Sam Taylor. Taylor began his career 36 years ago in a friend’s basement studio, then went on to work in Mark Shapiro’s Stonepool Pottery. These experiences proved to be hugely influential in establishing a studio of his own. Now Taylor embraces the connective parts of ceramics, from sharing studio space with family to turning kiln firings into exciting gatherings of friends and community.
Matias Braun began making pottery full time four years ago. In this short time, he has garnered interest in his work from customers near and far, selling online as well as out of his studio in Costa Rica. Braun quickly diversified his practice to make it sustainable by creating two lines of work that sell at different price points and offering classes in his studio.
In this issue’s Spotlight, we check in with 2022 Working Potter Rich Brown. Since he last discussed his work and career, Brown completed a 25-city road trip, along the way capturing documentary footage and interviews with those in the field who use clay to encourage community.
Additionally, our Studio Visit takes us to Ontario, Canada, where Marney McDiarmid shares a view into her day-to-day studio practice and path in ceramics. Tim Saunders describes Jean White’s porcelain and Parian vessels, which are adorned with sprigged imagery of endangered bird species. Find helpful tips on a DIY sink, a Quick Tip for getting a super crisp glaze line without wax or tape, and the science behind dendritic glazing.
This group of artists demonstrates the possibilities of a career in clay. Whether you’re a full-time artist now, hope to make the leap one day, or are content with making work without the pressure of earning an income, I hope you find encouragement and inspiration in this issue.
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This issue focuses on Working Potters, artists who make a living through their ceramic practices. It’s fascinating to hear the perspectives that follow from four artists with different backgrounds, geographic markets, approaches to working, and time spent as professional potters—ranging from 4 to 36 years. Similarities that mark their stories include an emphasis on following opportunity, prioritizing personal fulfillment, and combining chance with hard work. As someone who does not earn a living directly through my ceramics practice, I especially appreciate the transparency with which the Working Potters invite us to glimpse their studios, schedules, and production breakdowns in each feature’s Career Snapshot sidebar. I applaud their effort and courage in pursuing a life as full-time artists.
With no prior experience, Tanya Gomez took a job working as a chef on a yacht and traveled the world. Upon returning to the UK, Gomez completed her studies in ceramics, began a career as an artist, and remains inspired by the sea even 20 years later. Many of the big moments in her career have come from persevering and viewing opportunities that arose as motivation to continue.
Akira Satake has worked as a potter for 23 years, since changing paths from a career in music in his 40s. He operates a studio and gallery in the River Arts District in Asheville, North Carolina, and attributes his current success in selling work online rather than in person to practices he adopted out of necessity during the pandemic.
The plate shown on this issue’s cover was made by Sam Taylor. Taylor began his career 36 years ago in a friend’s basement studio, then went on to work in Mark Shapiro’s Stonepool Pottery. These experiences proved to be hugely influential in establishing a studio of his own. Now Taylor embraces the connective parts of ceramics, from sharing studio space with family to turning kiln firings into exciting gatherings of friends and community.
Matias Braun began making pottery full time four years ago. In this short time, he has garnered interest in his work from customers near and far, selling online as well as out of his studio in Costa Rica. Braun quickly diversified his practice to make it sustainable by creating two lines of work that sell at different price points and offering classes in his studio.
In this issue’s Spotlight, we check in with 2022 Working Potter Rich Brown. Since he last discussed his work and career, Brown completed a 25-city road trip, along the way capturing documentary footage and interviews with those in the field who use clay to encourage community.
Additionally, our Studio Visit takes us to Ontario, Canada, where Marney McDiarmid shares a view into her day-to-day studio practice and path in ceramics. Tim Saunders describes Jean White’s porcelain and Parian vessels, which are adorned with sprigged imagery of endangered bird species. Find helpful tips on a DIY sink, a Quick Tip for getting a super crisp glaze line without wax or tape, and the science behind dendritic glazing.
This group of artists demonstrates the possibilities of a career in clay. Whether you’re a full-time artist now, hope to make the leap one day, or are content with making work without the pressure of earning an income, I hope you find encouragement and inspiration in this issue.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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