At some point in your introduction to clay, did you dream of supporting yourself with what you make? I certainly did. My romantic vision of long (but satisfying) hours in the studio, managing my own business with gumption, making cup after cup did not
pan out. My interest shifted to sculpture and my path continued to follow clay, but never a production practice. Perhaps in the future, I’ll make that small business happen, but for now, I appreciate the opportunity to hear from those who are
succeeding at just that. Two themes stand out as I reflect on the ceramic artists in this issue who make a living in clay: most built up to full-time practices, and each credits community—be it family or fellow artists—for helping to navigate
challenges, pool resources, and share in achievements.
In 2004, Naysan McIlhargey and his wife, Jalana, established Miami Valley Pottery. Experience in college and through apprenticeships created the solid foundation on which this business was built, and consistent openness to customers and curiosity have
marked its success.
Mayumi Yamashita pivoted to clay from textile design. After establishing a studio space and working as a potter for a decade, one area in which she continues to grow through trial and error is working with clients in partnerships and commissioned projects.
Before deciding to pursue ceramics full time, Maya Machin worked in a few different fields. Her experiences as a preschool teacher, a bookkeeper, and a landscaper have no doubt provided skills useful in running a pottery. In her article, Machin notes
one certainty of owning a business—making the pots is only one job of many for full-time potters.
Corien Ridderikhoff has spent the past 45 years as a professional potter in the Netherlands. Her practice making porcelain vessels decorated with wax resist has benefited from a recent residency at the European Ceramic Work Centre. Echoing her own start,
Ridderikhoff advises beginning potters to keep an open mind and split the steep costs of rent and/or equipment with a studiomate.
This issue’s Studio Visit offers a glimpse into Maria White’s craft-house bungalow in South Carolina. Before relocating and reestablishing herself in the local arts scene, White had worked in Los Angeles with a ceramics studio bolstered by
part-time work including catering and acting, in addition to filmmaking, directing, and producing.
Kate McIntyre, featured in the Spotlight, has a studio practice of her own while also running Kaolin, an online platform that promotes and sells the work of New Zealand ceramic artists. Managing these two ceramics-focused businesses requires a fair bit
of juggling and includes plenty of overlap.
Regardless of how much the sale of ceramic work contributes to your income, I hope that the stories shared in this issue shed light on the reality of life as a professional potter while encouraging you to think about what you want to get out of clay.
There are endless possibilities for folding ceramics into your livelihood, and, based on the experiences of the featured artists, steady, incremental growth pays off.
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At some point in your introduction to clay, did you dream of supporting yourself with what you make? I certainly did. My romantic vision of long (but satisfying) hours in the studio, managing my own business with gumption, making cup after cup did not pan out. My interest shifted to sculpture and my path continued to follow clay, but never a production practice. Perhaps in the future, I’ll make that small business happen, but for now, I appreciate the opportunity to hear from those who are succeeding at just that. Two themes stand out as I reflect on the ceramic artists in this issue who make a living in clay: most built up to full-time practices, and each credits community—be it family or fellow artists—for helping to navigate challenges, pool resources, and share in achievements.
In 2004, Naysan McIlhargey and his wife, Jalana, established Miami Valley Pottery. Experience in college and through apprenticeships created the solid foundation on which this business was built, and consistent openness to customers and curiosity have marked its success.
Mayumi Yamashita pivoted to clay from textile design. After establishing a studio space and working as a potter for a decade, one area in which she continues to grow through trial and error is working with clients in partnerships and commissioned projects.
Before deciding to pursue ceramics full time, Maya Machin worked in a few different fields. Her experiences as a preschool teacher, a bookkeeper, and a landscaper have no doubt provided skills useful in running a pottery. In her article, Machin notes one certainty of owning a business—making the pots is only one job of many for full-time potters.
Corien Ridderikhoff has spent the past 45 years as a professional potter in the Netherlands. Her practice making porcelain vessels decorated with wax resist has benefited from a recent residency at the European Ceramic Work Centre. Echoing her own start, Ridderikhoff advises beginning potters to keep an open mind and split the steep costs of rent and/or equipment with a studiomate.
This issue’s Studio Visit offers a glimpse into Maria White’s craft-house bungalow in South Carolina. Before relocating and reestablishing herself in the local arts scene, White had worked in Los Angeles with a ceramics studio bolstered by part-time work including catering and acting, in addition to filmmaking, directing, and producing.
Kate McIntyre, featured in the Spotlight, has a studio practice of her own while also running Kaolin, an online platform that promotes and sells the work of New Zealand ceramic artists. Managing these two ceramics-focused businesses requires a fair bit of juggling and includes plenty of overlap.
Regardless of how much the sale of ceramic work contributes to your income, I hope that the stories shared in this issue shed light on the reality of life as a professional potter while encouraging you to think about what you want to get out of clay. There are endless possibilities for folding ceramics into your livelihood, and, based on the experiences of the featured artists, steady, incremental growth pays off.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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