The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
I had been learning pottery for around seven years during Canterbury College’s adult education evening classes when it became increasingly apparent that I either had to stop making pots (because there was no more room in the house for them!) or start selling them. I thankfully chose the latter, and it set me on the path for a complete career change.
When I began on this journey, it was going against what I perceived to be my better judgment. It is often programmed into us by society that making a living as an artist is nigh impossible, and I was subject to this lack of self-belief. Luckily, the joy I felt from potting far outweighed this pessimism and compelled me to at least give it a go before admitting defeat! As you can imagine, I had quite the shock when I did my first ceramics fair and discovered that not only did people like my work, but they were also willing to part with their hard-earned cash for it—this is something I still struggle to wrap my head around even now, but I couldn’t be more grateful. My experience of a potter’s life has far exceeded my expectations. The work is hard (and often very cold), but the sense of reward and fulfillment is worth its weight in gold.
Studio Space
My studio is located in South East Kent. At present, it is just a workspace, but in time, I would very much like to open it to the public as part of the local “Artists’ Open Studios” scheme.
The space is a very ramshackle garden shed, which my mother generously allowed me to commandeer. I share it with regular nesting blackbirds, friendly garden shrews, inquisitive chickens, and the occasional uninvited rat. Working in such a rural environment suits me perfectly—my decorative themes are heavily inspired by the natural world, which means I have a plethora of inspiration on my doorstep daily. The space is, well . . . an utter mess (I am not a tidy person). It evolved organically rather than with any logical planning and therefore makes complete disorganized sense to me, and chaos to anyone else. I need to make many changes, such as installing more shelves, adding insulation, installing better lighting, etc., but somehow making pots always takes priority, so these things have yet to be tackled.
My local community has been gradually stripped of its creative outlets over the years due to successive governmental cuts to the arts sector and the rising cost of living. There are pockets of creativity where individuals strive toward what matters to them, but I fear community decline may become an increasing problem as this digital age progresses.
A DAY IN THE LIFE
MORNING
Slow breakfast spent checking emails, working on social media administrative tasks, and deciding what to work on that day.
AFTERNOON
Here, I prioritize studio work—I don’t have heat in my studio, so I try to make the most of the daytime warmth. This will either be throwing, turning, slab building, decorating, or doing studio maintenance.
EVENING
I often work late into my evenings decorating work—it feels like the calmer time, and this is when ideas seem to come to me more easily. I also use this time for any computer-based work; I don’t like wasting daylight hours at a screen. This can involve: updating my website, editing photos, writing invoices, purchasing materials and equipment, browsing exhibitions, researching ideas, and writing ceramic fair applications.
BEDTIME
During busy periods, I often write to-do lists before bed, as I find it easier to think things through at this time. I also frequently find myself thinking of creative ideas as I’m trying to fall asleep, so I make lists of these, too.
Finding Focus
I’ve had to make two key decisions to advance my career as a potter, the first being the purchase of my kiln—at the time it was the most money I had ever spent on something (I do not own a house and even my car cost less!). The second decision came earlier this year when I decided it was time to cease my previous career as a graphic designer/illustrator. I had founded the design partnership over a decade ago with my sister, so it was an emotional step to wind things down, but one that ultimately felt necessary in order to focus my attention where it mattered.
From the word “go,” I was drawn to throwing on the wheel; it was the only place I wanted to be when I was learning. I still love it, but have since learned to love other methods like slab building, too. I feel it’s important to keep learning and challenging yourself, and, where possible, allow space for the desire to explore new techniques and ideas. This can be key in staying connected to the sense of joy the work brings.
I have an immense love of color and pattern, so hand painting was a natural fit for me, especially with my background in illustration. My techniques have developed over a number of years and continue to evolve. Working predominantly in stoneware, my decorative method involves the layering of fine brushwork in warm earth tones with sgraffito and wax resist to produce a signature richness and depth.
Engaging with Community
Social media has been truly transformative with regard to establishing myself within the ceramics world. I may complain a lot about how long it requires me to be on my phone, but it has most certainly advanced my career. I don’t currently sell online as I have yet to develop my online shop, but many buyers initially discover me on Instagram before coming to purchase from me in person at a show. It is also where many galleries first discover my work.
I personally feel in-person events and exhibitions are hugely valuable regardless of their outlay. Ceramics, by their very nature, want to be handled and experienced in the real world. Aside from this, in-person fairs are one of the best ways to meet fellow potters and engage with the community you are a part of. I learned about almost all of the ceramic shows I have participated in thanks to word-of-mouth recommendations from other ceramicists. Potters are some of the loveliest and most humble people I have come across, and doing fairs can be such a joyful experience because of this.
This year, I have begun to explore exhibiting with galleries. I am excited to see how this goes, and it will be interesting to compare them to my normal in-person fairs. I love visiting galleries and feel it is important to support these businesses and not just rely on the internet for sales. My ultimate aim is to have a blend of a few key in-person shows, a few gallery exhibitions, and a couple of online stock releases annually. This way, I hope to access all areas of my customer base whilst also supporting the wider artistic community.
I generally try not to view online as being the answer. It is an amazing tool and hugely helpful, but I feel happier when I focus on life in the real world. The key to social media for me has ironically been putting the hours into producing the work, remembering to photograph it, and selling it at in-person events—do this and you will quickly find you have a huge body of content with which to promote yourself online. I quickly learned that sharing my work online isn’t just my income, it is also my portfolio. It is so important when starting out (especially if your pieces take a long time to create) to be precious about them and put them into the world in a manner that benefits your career and not just your bank balance, because once they’re gone, they’re gone! And then you’re back at square one.
Exploring Ideas
I spent seven years learning with a local potter called Clive Soord, the ceramics teacher at Canterbury College, during evening classes. It was a lovely environment to learn in because of the social element (something I do miss now that I work from my home studio). Clive’s teaching suited me perfectly because he allowed us all the freedom to choose our own direction (we were never told what to do), but instead encouraged us to explore our own ideas. I learned so much from those lessons that it’s hard to know where to begin. I think the confidence it allowed me to develop in myself as a potter was perhaps the thing I am most grateful for.
CAREER SNAPSHOT
YEARS AS A PROFESSIONAL POTTER
2
NUMBER OF POTS MADE IN A YEAR
around 300
EDUCATION
Photography and Video BA, De Montfort University, Leicester, UK
Adult education courses, Canterbury College, Kent, UK
I am one of those people with possibly too many hobbies (swing dancing, tennis, gardening, archery, sewing, etc.) so there isn’t much of a work/life balance—I leave things to the last minute, manage time abysmally, am practically allergic to Excel spreadsheets, completely overbook myself, and prioritize fun 90% of the time . . . yet somehow I manage to make it work for the most part (possibly because I’m a little nocturnal, I’m writing this at 3am). Given my personality, I work best at something if I have a love for it, and if I manage to stay in love, then my batteries will keep running.
My creative themes center around a joyous appreciation for the natural world and reflect my love of traditional folk art and historical craft, with antique florals and animals heavily featured. I often enjoy depicting less-appreciated areas of nature, such as weeds, hedgerows, and insects. There is so much beauty in the ordinary, and these neglected corners of nature play such fundamental roles in our ecosystems that I feel they deserve to be celebrated.
Advice
Remember to focus on making the things you love to create, not the things you think will sell. If you work on putting your soul into something, you’re likely to find it resonates with others, too.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
I had been learning pottery for around seven years during Canterbury College’s adult education evening classes when it became increasingly apparent that I either had to stop making pots (because there was no more room in the house for them!) or start selling them. I thankfully chose the latter, and it set me on the path for a complete career change.
When I began on this journey, it was going against what I perceived to be my better judgment. It is often programmed into us by society that making a living as an artist is nigh impossible, and I was subject to this lack of self-belief. Luckily, the joy I felt from potting far outweighed this pessimism and compelled me to at least give it a go before admitting defeat! As you can imagine, I had quite the shock when I did my first ceramics fair and discovered that not only did people like my work, but they were also willing to part with their hard-earned cash for it—this is something I still struggle to wrap my head around even now, but I couldn’t be more grateful. My experience of a potter’s life has far exceeded my expectations. The work is hard (and often very cold), but the sense of reward and fulfillment is worth its weight in gold.
Studio Space
My studio is located in South East Kent. At present, it is just a workspace, but in time, I would very much like to open it to the public as part of the local “Artists’ Open Studios” scheme.
The space is a very ramshackle garden shed, which my mother generously allowed me to commandeer. I share it with regular nesting blackbirds, friendly garden shrews, inquisitive chickens, and the occasional uninvited rat. Working in such a rural environment suits me perfectly—my decorative themes are heavily inspired by the natural world, which means I have a plethora of inspiration on my doorstep daily. The space is, well . . . an utter mess (I am not a tidy person). It evolved organically rather than with any logical planning and therefore makes complete disorganized sense to me, and chaos to anyone else. I need to make many changes, such as installing more shelves, adding insulation, installing better lighting, etc., but somehow making pots always takes priority, so these things have yet to be tackled.
My local community has been gradually stripped of its creative outlets over the years due to successive governmental cuts to the arts sector and the rising cost of living. There are pockets of creativity where individuals strive toward what matters to them, but I fear community decline may become an increasing problem as this digital age progresses.
A DAY IN THE LIFE
MORNING
Slow breakfast spent checking emails, working on social media administrative tasks, and deciding what to work on that day.
AFTERNOON
Here, I prioritize studio work—I don’t have heat in my studio, so I try to make the most of the daytime warmth. This will either be throwing, turning, slab building, decorating, or doing studio maintenance.
EVENING
I often work late into my evenings decorating work—it feels like the calmer time, and this is when ideas seem to come to me more easily. I also use this time for any computer-based work; I don’t like wasting daylight hours at a screen. This can involve: updating my website, editing photos, writing invoices, purchasing materials and equipment, browsing exhibitions, researching ideas, and writing ceramic fair applications.
BEDTIME
During busy periods, I often write to-do lists before bed, as I find it easier to think things through at this time. I also frequently find myself thinking of creative ideas as I’m trying to fall asleep, so I make lists of these, too.
Finding Focus
I’ve had to make two key decisions to advance my career as a potter, the first being the purchase of my kiln—at the time it was the most money I had ever spent on something (I do not own a house and even my car cost less!). The second decision came earlier this year when I decided it was time to cease my previous career as a graphic designer/illustrator. I had founded the design partnership over a decade ago with my sister, so it was an emotional step to wind things down, but one that ultimately felt necessary in order to focus my attention where it mattered.
From the word “go,” I was drawn to throwing on the wheel; it was the only place I wanted to be when I was learning. I still love it, but have since learned to love other methods like slab building, too. I feel it’s important to keep learning and challenging yourself, and, where possible, allow space for the desire to explore new techniques and ideas. This can be key in staying connected to the sense of joy the work brings.
I have an immense love of color and pattern, so hand painting was a natural fit for me, especially with my background in illustration. My techniques have developed over a number of years and continue to evolve. Working predominantly in stoneware, my decorative method involves the layering of fine brushwork in warm earth tones with sgraffito and wax resist to produce a signature richness and depth.
Engaging with Community
Social media has been truly transformative with regard to establishing myself within the ceramics world. I may complain a lot about how long it requires me to be on my phone, but it has most certainly advanced my career. I don’t currently sell online as I have yet to develop my online shop, but many buyers initially discover me on Instagram before coming to purchase from me in person at a show. It is also where many galleries first discover my work.
I personally feel in-person events and exhibitions are hugely valuable regardless of their outlay. Ceramics, by their very nature, want to be handled and experienced in the real world. Aside from this, in-person fairs are one of the best ways to meet fellow potters and engage with the community you are a part of. I learned about almost all of the ceramic shows I have participated in thanks to word-of-mouth recommendations from other ceramicists. Potters are some of the loveliest and most humble people I have come across, and doing fairs can be such a joyful experience because of this.
This year, I have begun to explore exhibiting with galleries. I am excited to see how this goes, and it will be interesting to compare them to my normal in-person fairs. I love visiting galleries and feel it is important to support these businesses and not just rely on the internet for sales. My ultimate aim is to have a blend of a few key in-person shows, a few gallery exhibitions, and a couple of online stock releases annually. This way, I hope to access all areas of my customer base whilst also supporting the wider artistic community.
I generally try not to view online as being the answer. It is an amazing tool and hugely helpful, but I feel happier when I focus on life in the real world. The key to social media for me has ironically been putting the hours into producing the work, remembering to photograph it, and selling it at in-person events—do this and you will quickly find you have a huge body of content with which to promote yourself online. I quickly learned that sharing my work online isn’t just my income, it is also my portfolio. It is so important when starting out (especially if your pieces take a long time to create) to be precious about them and put them into the world in a manner that benefits your career and not just your bank balance, because once they’re gone, they’re gone! And then you’re back at square one.
Exploring Ideas
I spent seven years learning with a local potter called Clive Soord, the ceramics teacher at Canterbury College, during evening classes. It was a lovely environment to learn in because of the social element (something I do miss now that I work from my home studio). Clive’s teaching suited me perfectly because he allowed us all the freedom to choose our own direction (we were never told what to do), but instead encouraged us to explore our own ideas. I learned so much from those lessons that it’s hard to know where to begin. I think the confidence it allowed me to develop in myself as a potter was perhaps the thing I am most grateful for.
CAREER SNAPSHOT
YEARS AS A PROFESSIONAL POTTER
2
NUMBER OF POTS MADE IN A YEAR
around 300
EDUCATION
Photography and Video BA, De Montfort University, Leicester, UK
Adult education courses, Canterbury College, Kent, UK
THE TIME IT TAKES (PERCENTAGES)
Making work (including firing): 70%
Promotions/Selling: 25%
Office/Bookkeeping: 5%
FAVORITE TOOL
My paintbrushes
PROCESS
Using wax resist
WHERE IT GOES
Galleries: 10% Craft/Art Fairs: 85%
Studio/Home Sales: 1%
Online: 4%
LEARN MORE
www.katesampsonceramics.com
Instagram: @kate.sampson.ceramics
Maintaining Balance
I am one of those people with possibly too many hobbies (swing dancing, tennis, gardening, archery, sewing, etc.) so there isn’t much of a work/life balance—I leave things to the last minute, manage time abysmally, am practically allergic to Excel spreadsheets, completely overbook myself, and prioritize fun 90% of the time . . . yet somehow I manage to make it work for the most part (possibly because I’m a little nocturnal, I’m writing this at 3am). Given my personality, I work best at something if I have a love for it, and if I manage to stay in love, then my batteries will keep running.
My creative themes center around a joyous appreciation for the natural world and reflect my love of traditional folk art and historical craft, with antique florals and animals heavily featured. I often enjoy depicting less-appreciated areas of nature, such as weeds, hedgerows, and insects. There is so much beauty in the ordinary, and these neglected corners of nature play such fundamental roles in our ecosystems that I feel they deserve to be celebrated.
Advice
Remember to focus on making the things you love to create, not the things you think will sell. If you work on putting your soul into something, you’re likely to find it resonates with others, too.
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