Primary firing temperature cone 5 in an electric kiln
Favorite surface treatment hand painting colorful geometric designs with underglaze
Favorite tools MKM Decorating Disk
Studio Playlist I listen to audiobooks mainly. I recently read and loved Rainbow Rowell’s Carry On series and The Thursday Murder Club series by Richard Osman.
Wishlist running water!
Studio
My studio is located on our property in Jamaica, Vermont. Years ago, it was used by the furniture maker who built our house and it hadn’t been used for fifteen or so years, so when we moved in, animals had taken it over and a portion of the building was sitting underground. We had to go in and pull down the crumbling Styrofoam ceiling and old insulation infested with animal waste and tiny animal bones. We replaced the ceiling with metal siding, installed new insulation, and excavated the dirt on one side of the side of the rotten building. A soil-retaining rock wall was created with the boulders unearthed through the excavation, and now I have 1000 square feet (93 m2) of beautiful studio that is only lacking water! In the near future, I’m planning on purchasing a DiamondCore CINK Mobile Clay Recycling System so I’ll have access to recycled studio water and won’t have to worry about hooking up water.
I recently had a neighbor build me a workbench made from pine sourced from trees behind our property. It’s the perfect height and size, and it is on wheels. It sits in the center of the room and has been a game changer. As long as I keep that space clear, when I start a day in the studio it feels like anything is possible. My studio reflects my sensibilities in terms of color and design, so when my studio is clean, my work will be cleaner; if my studio is colorful and functions well, then my work will do the same.
I love that my studio is close enough to my house that I can run down and check on my firings and work that’s drying, but also far enough away so that I don’t feel the need to be making all the time. It’s also close enough so that my toddler and husband can come down to “mummy’s studio” and “play clay,” and far enough away that I’m not getting distracted by cuteness.
David Eichelberger and Elisa Di Feo were some of my first mentors when I started my ceramics education at the Appalachian Center for Craft in Smithville, Tennessee, and fourteen years later, I luckily ended up living within 30 miles of them. When we first moved to southern Vermont I worked for them in their studio in Brattleboro. They were constantly rearranging and streamlining the work they did there to make the most of their time and space, and I often find myself in my studio thinking: What would David and Elisa do? I also have a dad, uncle, and grandpa who were all engineers and they are always encouraging me to streamline my process.
We moved to our property in 2020 and almost immediately started the daunting task of remodeling the studio, which often feels never ending. We had our baby in 2022, which slowed things down a bit, but despite this, I worked in the studio through the harsh Vermont winters without heat. It required using lots of space heaters, heating up of kettles, and thawing frozen tools. I remember a couple of weeks in December last year when I felt like I was sliding down my driveway with boards of glazed work every few days. I told myself, that would be the last winter that I’d be doing that. Luckily, we recently got a hold of a pellet stove for this winter!
Paying Dues (and Bills)
I received an MFA from Louisiana State University (LSU), a post baccalaureate from the University of Florida, and a BFA from the Appalachian Center for Craft. I also returned to my home in the UK and completed a studio internship at The Leach Pottery between my undergraduate and my post-bacc studies.
I am a full-time potter, though I really miss teaching and would love to teach some workshops now and again. I spend on average 30–40 hours in the studio, depending on the season (and the temperature). I keep track of all my hours in the notes app on my phone. I started doing this in grad school to hold myself accountable, and now I do it to make sure that I’m taking necessary breaks and days off. I like to get into the studio early, as I feel most productive in the morning. I have my first cup of coffee in the house and then I won’t let myself have my second until I’ve wedged up my clay. I listen to a lot of audiobooks. I listened to almost 50 this last year. I make sure I have lots of tinned fish, crackers, and sparkling water to keep me going. I shoot for “Weekend Wednesdays” where I try to relax with my family and maybe even go out to dinner with my husband.
Marketing
I find that my work resonates with people of all ages and from all walks of life, which is why I love selling at in-person markets. On top of two weekly farmers’ markets, I participated in nine craft shows in the New England area in 2024, which accounted for 69% of my sales that year. I’d love to be able to slow down on the in-person markets and sell work through more galleries and wholesale accounts, which made up 3% and 9% of my total, respectively. Online sales counted for 9% of my revenue, and commissions counted for 10%.
Since moving to Vermont in 2020, farmers’ markets have been crucial aspects of our personal and professional lives. On top of helping create a loyal customer base, they have been our primary means of building our community and have been an essential element of our daughter Frankie’s development.
I really find it difficult to put myself out there on social media. My work is so tied to my identity that it makes me feel vulnerable to share it in such a public space. Lately, I have been enjoying sending out newsletters, which I think is something I could expand on in a way that feels true to myself as a person and maker.
Wherever I sell my work, people are always drawn to mugs. In-person customers pick up each one in order to find the perfect fit for their hand. I also find that people at markets gravitate toward more practical, utilitarian objects like sponge holders and match strikers.
Mind
I am currently reading How to Winter by Kari Leibowitz. I’ve always struggled in the winter. Growing up in Wales, it was the continuous gray and rainy days, and now in Vermont, it’s the endless winter. This book has really helped me change my mindset around this long season and enjoy the benefits of taking things slower and being more thoughtful and intentional with my time.
There are a lot of things I do to recharge creatively. I connect with friends and family through snail mail. Pick up my sketchbook. Read a book that inspires me. Dive deeper into artists I love. I can browse historical ceramics for hours on the Victoria and Albert Museum website. Since having my daughter I’ve really been inspired by her picture books. I remember when I was talking with one of my LSU professors, Mikey Walsh, about having a baby and she said how having children really influenced her work—I couldn’t agree more.
On a day off or a break from the studio I love going to our local bookstore and for walks at the state park down the road. We swim in local swimming holes throughout the summer and fly fish in our pond.
If I ever get stuck in the studio, I pull out old sketchbooks and look at older images of work. I experiment with colors on test tiles. I make pickle-themed ceramics and fun things for Frankie. I collaborate with other small businesses and make vessels for salve and candles, mugs for coffee shops, and vases for florists. It’s important for me to take breaks and step outside of myself and my work to make sure I’m aligning myself with other businesses and people in our community who resonate with me.
Most Important Lesson
The most important thing I’ve learned through my time as a working artist is to trust myself. If I make pots that I love, then other people will love those pots.
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Just the Facts
Clay
white stoneware
Primary forming method
throwing
Primary firing temperature
cone 5 in an electric kiln
Favorite surface treatment
hand painting colorful geometric designs with underglaze
Favorite tools
MKM Decorating Disk
Studio Playlist
I listen to audiobooks mainly. I recently read and loved Rainbow Rowell’s Carry On series and The Thursday Murder Club series by Richard Osman.
Wishlist
running water!
Studio
My studio is located on our property in Jamaica, Vermont. Years ago, it was used by the furniture maker who built our house and it hadn’t been used for fifteen or so years, so when we moved in, animals had taken it over and a portion of the building was sitting underground. We had to go in and pull down the crumbling Styrofoam ceiling and old insulation infested with animal waste and tiny animal bones. We replaced the ceiling with metal siding, installed new insulation, and excavated the dirt on one side of the side of the rotten building. A soil-retaining rock wall was created with the boulders unearthed through the excavation, and now I have 1000 square feet (93 m2) of beautiful studio that is only lacking water! In the near future, I’m planning on purchasing a DiamondCore CINK Mobile Clay Recycling System so I’ll have access to recycled studio water and won’t have to worry about hooking up water.
I recently had a neighbor build me a workbench made from pine sourced from trees behind our property. It’s the perfect height and size, and it is on wheels. It sits in the center of the room and has been a game changer. As long as I keep that space clear, when I start a day in the studio it feels like anything is possible. My studio reflects my sensibilities in terms of color and design, so when my studio is clean, my work will be cleaner; if my studio is colorful and functions well, then my work will do the same.
I love that my studio is close enough to my house that I can run down and check on my firings and work that’s drying, but also far enough away so that I don’t feel the need to be making all the time. It’s also close enough so that my toddler and husband can come down to “mummy’s studio” and “play clay,” and far enough away that I’m not getting distracted by cuteness.
David Eichelberger and Elisa Di Feo were some of my first mentors when I started my ceramics education at the Appalachian Center for Craft in Smithville, Tennessee, and fourteen years later, I luckily ended up living within 30 miles of them. When we first moved to southern Vermont I worked for them in their studio in Brattleboro. They were constantly rearranging and streamlining the work they did there to make the most of their time and space, and I often find myself in my studio thinking: What would David and Elisa do? I also have a dad, uncle, and grandpa who were all engineers and they are always encouraging me to streamline my process.
We moved to our property in 2020 and almost immediately started the daunting task of remodeling the studio, which often feels never ending. We had our baby in 2022, which slowed things down a bit, but despite this, I worked in the studio through the harsh Vermont winters without heat. It required using lots of space heaters, heating up of kettles, and thawing frozen tools. I remember a couple of weeks in December last year when I felt like I was sliding down my driveway with boards of glazed work every few days. I told myself, that would be the last winter that I’d be doing that. Luckily, we recently got a hold of a pellet stove for this winter!
Paying Dues (and Bills)
I received an MFA from Louisiana State University (LSU), a post baccalaureate from the University of Florida, and a BFA from the Appalachian Center for Craft. I also returned to my home in the UK and completed a studio internship at The Leach Pottery between my undergraduate and my post-bacc studies.
I am a full-time potter, though I really miss teaching and would love to teach some workshops now and again. I spend on average 30–40 hours in the studio, depending on the season (and the temperature). I keep track of all my hours in the notes app on my phone. I started doing this in grad school to hold myself accountable, and now I do it to make sure that I’m taking necessary breaks and days off. I like to get into the studio early, as I feel most productive in the morning. I have my first cup of coffee in the house and then I won’t let myself have my second until I’ve wedged up my clay. I listen to a lot of audiobooks. I listened to almost 50 this last year. I make sure I have lots of tinned fish, crackers, and sparkling water to keep me going. I shoot for “Weekend Wednesdays” where I try to relax with my family and maybe even go out to dinner with my husband.
Marketing
I find that my work resonates with people of all ages and from all walks of life, which is why I love selling at in-person markets. On top of two weekly farmers’ markets, I participated in nine craft shows in the New England area in 2024, which accounted for 69% of my sales that year. I’d love to be able to slow down on the in-person markets and sell work through more galleries and wholesale accounts, which made up 3% and 9% of my total, respectively. Online sales counted for 9% of my revenue, and commissions counted for 10%.
Since moving to Vermont in 2020, farmers’ markets have been crucial aspects of our personal and professional lives. On top of helping create a loyal customer base, they have been our primary means of building our community and have been an essential element of our daughter Frankie’s development.
I really find it difficult to put myself out there on social media. My work is so tied to my identity that it makes me feel vulnerable to share it in such a public space. Lately, I have been enjoying sending out newsletters, which I think is something I could expand on in a way that feels true to myself as a person and maker.
Wherever I sell my work, people are always drawn to mugs. In-person customers pick up each one in order to find the perfect fit for their hand. I also find that people at markets gravitate toward more practical, utilitarian objects like sponge holders and match strikers.
Mind
I am currently reading How to Winter by Kari Leibowitz. I’ve always struggled in the winter. Growing up in Wales, it was the continuous gray and rainy days, and now in Vermont, it’s the endless winter. This book has really helped me change my mindset around this long season and enjoy the benefits of taking things slower and being more thoughtful and intentional with my time.
There are a lot of things I do to recharge creatively. I connect with friends and family through snail mail. Pick up my sketchbook. Read a book that inspires me. Dive deeper into artists I love. I can browse historical ceramics for hours on the Victoria and Albert Museum website. Since having my daughter I’ve really been inspired by her picture books. I remember when I was talking with one of my LSU professors, Mikey Walsh, about having a baby and she said how having children really influenced her work—I couldn’t agree more.
On a day off or a break from the studio I love going to our local bookstore and for walks at the state park down the road. We swim in local swimming holes throughout the summer and fly fish in our pond.
If I ever get stuck in the studio, I pull out old sketchbooks and look at older images of work. I experiment with colors on test tiles. I make pickle-themed ceramics and fun things for Frankie. I collaborate with other small businesses and make vessels for salve and candles, mugs for coffee shops, and vases for florists. It’s important for me to take breaks and step outside of myself and my work to make sure I’m aligning myself with other businesses and people in our community who resonate with me.
Most Important Lesson
The most important thing I’ve learned through my time as a working artist is to trust myself. If I make pots that I love, then other people will love those pots.
mastermanceramics.com
Facebook: @mastermanceramics
Instagram: @mastermanceramics
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