The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
A Ceramic Foundation
I’ve never had a realistic plan B if I weren’t going to make my living as an artist. My whole life has been saturated with creative hobbies and education, from early childhood to university studies. I applied to a range of art schools and got into the ceramic and glass design program at Aalto University, so there was an element of chance at play. I did enjoy ceramics in high school, so perhaps I would have ended up back in it anyway.
My university studies were quite design oriented. I noticed that other students and teachers were making beautiful white and beige vessels. However, I never managed to stick with that aesthetic. I always wanted to add a layer of decoration to my pieces and often lacked interest in functionality. Early on, I realized I wouldn’t be making a small production of functional “beigeware” in my studio—I’m far too frantic for that! Luckily, I couldn’t tame my need for decorative elements, which led me to use ceramics as a medium for drawing and painting. At my core, I love drawing and creating images, and that remains the foundation of my work, whether in sculpture, painting, or illustration.
Creative Freedom and Inspiration
My work year usually consists of a mix of larger assignments such as public art projects and exhibitions, smaller custom commissions like sculptures and illustrations, and time for free work. For me, free work often means creating sculptures, poster designs, or participating in collaborative projects. I tend to avoid commissioned work because I enjoy the freedom of creating without the negotiations and expectations that custom projects entail.
My studio is located in a 19th-century opera house in the heart of Helsinki. The building still operates as a theater, and my studio, situated next to the backstage area, offers a fascinating glimpse into its lively hallways. The building’s character is inspiring, and I feel fortunate to have this space. In a few years, an international investment company will convert it into fancy office spaces or a hotel, so I’m savoring the time I have here while preparing for new opportunities. I hope to stay in the downtown area because the lively urban environment lifts my mood. Seeing people bustling outside my window makes me feel less lonely in the studio. In a future workspace, I’d like a bit more room. My current 215 square feet (20 square meters) are snugly packed, and I’d appreciate a layout with separate spaces for a kiln room, a clay room, and a dust-free nook for laptop work, drawing, and, of course, sandwich eating.
My path to professional work began to take shape during my university studies. I was pursuing a master’s degree in visual narrative at Aalto University in Espoo, Finland, and had my own studio space where I created sculptural pieces for exhibitions and porcelain jewelry for fairs. I didn’t take any formal apprenticeships, but I gained a wealth of knowledge from friends and studio colleagues. By the time I graduated, I was already in the habit of working in my studio and had established connections with local galleries, museum shops, and online platforms to sell my pieces. Social media has played a significant role in my career. Through Instagram, I’ve gained local and global visibility and attracted customers for the pieces I sell in my online shop. This visibility has also likely contributed to securing bigger opportunities, such as exhibitions and pattern design projects.
A Day in the Life
MORNING
Wake up without an alarm clock (what a life hack— being an entrepreneur!)
Toast and coffee with the news
Office work on the couch: ranking the to-do list’s most urgent tasks, checking emails, doing bookkeeping
Tram to the studio
Continuing handbuilding sculptures from the previous session
Listen to podcasts or the radio while working
Lunch at a nearby restaurant with a friend
AFTERNOON
Clean up the space for a new process
Set up glazes and brushes
Gather greenware pieces for glazing
Paint and draw with glazes, slips, and pigments
Take a break (or two) for instant coffee with oat milk and cookies
Some phone scrolling, too
Once I’m finished or tired, I clean up
Tram or walk home
EVENING
Get groceries
Cook dinner with bae
Plan home renovations
Watch talk shows
Sleep
Career Advice
If I were to offer advice to those pursuing a profession in ceramic art or a similar field, I would emphasize three elements:
First, develop a unique skill set—something that makes your work distinctly yours. Professional artists require an individual way of thinking and a certain level of talent. Don’t get me wrong—you don’t need to be a genius, but you should strive to learn and develop your field of interest until you feel confident in it. This uniqueness and expertise can also help protect your work from AI-generated content or from being confused with other people’s work. While copying is a valuable way to learn, it’s crucial to move beyond trends and focus on what genuinely resonates with you. Explore what you find interesting, beautiful, ravishing, and alluring—ways and styles of making art that reflect you as a person.
Secondly, be curious about marketing and communication. It doesn’t hurt to have a swanky online portfolio, grant application, or competition entry layout. Study graphic design basics, keep your eyes open for what kind of visual communication attracts your interest and could support your image as a professional artist. Do you want the aesthetics to be clean, handmade, serious, or playful—it’s all part of communication. Long application texts can be made more readable with a good choice of font and line spacing. These small details convey professionalism and competence. Understandably, many artists would rather just focus on the actual creative work, but it’s important to think about how it is presented. Otherwise, a great work might be left without an audience. The internet has transformed our human experience worldwide: how we consume information, communicate, work, and spend our free time. As a result, an art piece is likely to receive more views online than in person at a gallery. While this reality can seem gloomy, it underscores the importance of maintaining a professional online presence. Get good photos (a smartphone camera is enough) and take tips from other makers whose presence you admire. What’s interesting about their way of showcasing their pieces? Be mindful, though, not to doom scroll for too long and compare yourself to others. Too much time thinking about followers, likes, or other people’s careers will make anyone depressed and ridden with anxiety.
The third thing is good luck. It’s a fact that there are a lot of talented people out there and some still struggle to reach audiences. To enhance your chances, cast your fishing net wide by staying active in your field and community. As a naturally introverted Scandinavian, I’ve had to teach myself how to introduce myself to colleagues and practice networking. Odds are you’re more likely to be invited to a collaborative project if you seem like a fun and competent person to work with.
When it comes to being noticed and selling your work, I recommend exploring a variety of platforms. Think about the kind of audience your work might appeal to—are they more into contemporary art, design, craft, or industrial aesthetics? Consider connecting with museum shops, cafés, galleries, online shops (both personal and collective), festivals, or other themed events. Simply being visible is crucial—participating in exhibitions, social media, competitions, and events can lead to new opportunities. Collaboration is another essential aspect of creating meaningful work. A strong community provides well-being, support during challenging times, and the collective force to organize, for example, your own events or online shops.
Finding a Balance
The past few years have been quite productive and successful for me as an artist. I’ve been fortunate to have exhibitions both locally and internationally, along with design projects and public art commissions. However, maintaining a balance between work and personal life has been challenging at times. As a self-employed artist, it often feels like there’s never a good time to turn down work. That said, if a lucky streak has been long enough, it’s time for a break.
I wouldn’t describe myself as a workaholic—I absolutely love free time, leisurely mornings that stretch into afternoons, swimming, solving crossword puzzles, and doing nothing particularly productive. However, I’m ambitious about my work, so it’s easy to overlook the importance of a truly rejuvenating holiday. Being your own boss comes with its challenges, as you have to manage artistic work and company obligations—despite having moody weeks or a lack of scheduling skills. Sometimes, I think of myself as an employee and wonder if I’d get fired for spending another half hour scrolling on my phone while lounging on the studio sofa. On the other hand, I remind myself that this employee also needs humane working hours and sufficient time to be off duty.
Lately, I’ve been inspired by the exploratory use of materials. I recently had an exhibition featuring my ongoing face reliefs. I have been making those since 2016, and while the style has evolved, it started to feel a bit stagnant. I decided to experiment with new ways of creating illustrated pieces. I began to ask myself questions to prompt play and discovery: What happens if I mix sand into glaze? What happens if I filter grog out of red clay and use it for painting? What happens if I put nails pulled from my wooden floors into the kiln? What happens if I dig up shards of broken wine glasses from the gaps in the stone paving of a summer terrace bar and use them for glazing? What happens if you’re not too afraid of getting the wrong results?
Career Snapshot
YEARS AS A PROFESSIONAL ARTIST
6
NUMBER OF WORKS MADE IN A YEAR
100+ Sculptures and Reliefs 1–2 Vessels
EDUCATION
Master of Arts in Visual Narrative Bachelor of Arts in Ceramic & Glass Art and Design, Aalto University, Helsinki, Finland
THE TIME IT TAKES (PERCENTAGES)
Making work (including firing): 70% Promotions/Selling: 15% Office/Bookkeeping: 15%
Helsinki 24h illustrated wall in Hernesaari, Helsinki Platform illustrations in Hakaniemi metro station, Helsinki Illustrated fence in Otaniemi tram stop, Espoo
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
A Ceramic Foundation
I’ve never had a realistic plan B if I weren’t going to make my living as an artist. My whole life has been saturated with creative hobbies and education, from early childhood to university studies. I applied to a range of art schools and got into the ceramic and glass design program at Aalto University, so there was an element of chance at play. I did enjoy ceramics in high school, so perhaps I would have ended up back in it anyway.
My university studies were quite design oriented. I noticed that other students and teachers were making beautiful white and beige vessels. However, I never managed to stick with that aesthetic. I always wanted to add a layer of decoration to my pieces and often lacked interest in functionality. Early on, I realized I wouldn’t be making a small production of functional “beigeware” in my studio—I’m far too frantic for that! Luckily, I couldn’t tame my need for decorative elements, which led me to use ceramics as a medium for drawing and painting. At my core, I love drawing and creating images, and that remains the foundation of my work, whether in sculpture, painting, or illustration.
Creative Freedom and Inspiration
My work year usually consists of a mix of larger assignments such as public art projects and exhibitions, smaller custom commissions like sculptures and illustrations, and time for free work. For me, free work often means creating sculptures, poster designs, or participating in collaborative projects. I tend to avoid commissioned work because I enjoy the freedom of creating without the negotiations and expectations that custom projects entail.
My studio is located in a 19th-century opera house in the heart of Helsinki. The building still operates as a theater, and my studio, situated next to the backstage area, offers a fascinating glimpse into its lively hallways. The building’s character is inspiring, and I feel fortunate to have this space. In a few years, an international investment company will convert it into fancy office spaces or a hotel, so I’m savoring the time I have here while preparing for new opportunities. I hope to stay in the downtown area because the lively urban environment lifts my mood. Seeing people bustling outside my window makes me feel less lonely in the studio. In a future workspace, I’d like a bit more room. My current 215 square feet (20 square meters) are snugly packed, and I’d appreciate a layout with separate spaces for a kiln room, a clay room, and a dust-free nook for laptop work, drawing, and, of course, sandwich eating.
My path to professional work began to take shape during my university studies. I was pursuing a master’s degree in visual narrative at Aalto University in Espoo, Finland, and had my own studio space where I created sculptural pieces for exhibitions and porcelain jewelry for fairs. I didn’t take any formal apprenticeships, but I gained a wealth of knowledge from friends and studio colleagues. By the time I graduated, I was already in the habit of working in my studio and had established connections with local galleries, museum shops, and online platforms to sell my pieces. Social media has played a significant role in my career. Through Instagram, I’ve gained local and global visibility and attracted customers for the pieces I sell in my online shop. This visibility has also likely contributed to securing bigger opportunities, such as exhibitions and pattern design projects.
A Day in the Life
MORNING
Wake up without an alarm clock (what a life hack— being an entrepreneur!)
Toast and coffee with the news
Office work on the couch: ranking the to-do list’s most urgent tasks, checking emails, doing bookkeeping
Tram to the studio
Continuing handbuilding sculptures from the previous session
Listen to podcasts or the radio while working
Lunch at a nearby restaurant with a friend
AFTERNOON
Clean up the space for a new process
Set up glazes and brushes
Gather greenware pieces for glazing
Paint and draw with glazes, slips, and pigments
Take a break (or two) for instant coffee with oat milk and cookies
Some phone scrolling, too
Once I’m finished or tired, I clean up
Tram or walk home
EVENING
Get groceries
Cook dinner with bae
Plan home renovations
Watch talk shows
Sleep
Career Advice
If I were to offer advice to those pursuing a profession in ceramic art or a similar field, I would emphasize three elements:
First, develop a unique skill set—something that makes your work distinctly yours. Professional artists require an individual way of thinking and a certain level of talent. Don’t get me wrong—you don’t need to be a genius, but you should strive to learn and develop your field of interest until you feel confident in it. This uniqueness and expertise can also help protect your work from AI-generated content or from being confused with other people’s work. While copying is a valuable way to learn, it’s crucial to move beyond trends and focus on what genuinely resonates with you. Explore what you find interesting, beautiful, ravishing, and alluring—ways and styles of making art that reflect you as a person.
Secondly, be curious about marketing and communication. It doesn’t hurt to have a swanky online portfolio, grant application, or competition entry layout. Study graphic design basics, keep your eyes open for what kind of visual communication attracts your interest and could support your image as a professional artist. Do you want the aesthetics to be clean, handmade, serious, or playful—it’s all part of communication. Long application texts can be made more readable with a good choice of font and line spacing. These small details convey professionalism and competence. Understandably, many artists would rather just focus on the actual creative work, but it’s important to think about how it is presented. Otherwise, a great work might be left without an audience. The internet has transformed our human experience worldwide: how we consume information, communicate, work, and spend our free time. As a result, an art piece is likely to receive more views online than in person at a gallery. While this reality can seem gloomy, it underscores the importance of maintaining a professional online presence. Get good photos (a smartphone camera is enough) and take tips from other makers whose presence you admire. What’s interesting about their way of showcasing their pieces? Be mindful, though, not to doom scroll for too long and compare yourself to others. Too much time thinking about followers, likes, or other people’s careers will make anyone depressed and ridden with anxiety.
The third thing is good luck. It’s a fact that there are a lot of talented people out there and some still struggle to reach audiences. To enhance your chances, cast your fishing net wide by staying active in your field and community. As a naturally introverted Scandinavian, I’ve had to teach myself how to introduce myself to colleagues and practice networking. Odds are you’re more likely to be invited to a collaborative project if you seem like a fun and competent person to work with.
When it comes to being noticed and selling your work, I recommend exploring a variety of platforms. Think about the kind of audience your work might appeal to—are they more into contemporary art, design, craft, or industrial aesthetics? Consider connecting with museum shops, cafés, galleries, online shops (both personal and collective), festivals, or other themed events. Simply being visible is crucial—participating in exhibitions, social media, competitions, and events can lead to new opportunities. Collaboration is another essential aspect of creating meaningful work. A strong community provides well-being, support during challenging times, and the collective force to organize, for example, your own events or online shops.
Finding a Balance
The past few years have been quite productive and successful for me as an artist. I’ve been fortunate to have exhibitions both locally and internationally, along with design projects and public art commissions. However, maintaining a balance between work and personal life has been challenging at times. As a self-employed artist, it often feels like there’s never a good time to turn down work. That said, if a lucky streak has been long enough, it’s time for a break.
I wouldn’t describe myself as a workaholic—I absolutely love free time, leisurely mornings that stretch into afternoons, swimming, solving crossword puzzles, and doing nothing particularly productive. However, I’m ambitious about my work, so it’s easy to overlook the importance of a truly rejuvenating holiday. Being your own boss comes with its challenges, as you have to manage artistic work and company obligations—despite having moody weeks or a lack of scheduling skills. Sometimes, I think of myself as an employee and wonder if I’d get fired for spending another half hour scrolling on my phone while lounging on the studio sofa. On the other hand, I remind myself that this employee also needs humane working hours and sufficient time to be off duty.
Lately, I’ve been inspired by the exploratory use of materials. I recently had an exhibition featuring my ongoing face reliefs. I have been making those since 2016, and while the style has evolved, it started to feel a bit stagnant. I decided to experiment with new ways of creating illustrated pieces. I began to ask myself questions to prompt play and discovery: What happens if I mix sand into glaze? What happens if I filter grog out of red clay and use it for painting? What happens if I put nails pulled from my wooden floors into the kiln? What happens if I dig up shards of broken wine glasses from the gaps in the stone paving of a summer terrace bar and use them for glazing? What happens if you’re not too afraid of getting the wrong results?
Career Snapshot
YEARS AS A PROFESSIONAL ARTIST
6
NUMBER OF WORKS MADE IN A YEAR
100+ Sculptures and Reliefs
1–2 Vessels
EDUCATION
Master of Arts in Visual Narrative
Bachelor of Arts in Ceramic & Glass Art and Design, Aalto University, Helsinki, Finland
THE TIME IT TAKES (PERCENTAGES)
Making work (including firing): 70%
Promotions/Selling: 15%
Office/Bookkeeping: 15%
FAVORITE TOOL
Brush
PROCESS
Handbuilding
WHERE IT GOES
Galleries: 30%
Craft/Art Fairs: 2%
Studio/Home Sales: 1%
Online: 67%
WHERE TO SEE MORE
Artek Helsinki flagship store, artek.fi/artekhelsinki/en
Lokal Helsinki, lokalhelsinki.com/armi-teva
Arabia, iittala.com/fi-fi/arabia/muotoilijat/armi-teva
PUBLIC ART
Helsinki 24h illustrated wall in Hernesaari, Helsinki
Platform illustrations in Hakaniemi metro station, Helsinki
Illustrated fence in Otaniemi tram stop, Espoo
LEARN MORE
Instagram: @armiteva
www.armiteva.com
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