The new year is a natural time to look back at what has shaped us and look ahead to what we want in the future. One of my major goals is to improve my studio situation. Currently I work in my dark, cramped basement. I hope to one day move out of that subterranean space. It is probably not in the cards for a while, but I can dream, right?
To help remind me of what I am working toward, I love to look at the Studio Visit department in Ceramics Monthly each month. Today I thought I would share an excerpt from Grace Potter's studio visit in the January 2026 issue. If you have a similar dream of a beautiful space to work, this will be a great one for your "studio vision board." –Jennifer Poellot Harnetty, editor
I share a small 10 × 12-foot (3 × 3.6-m) studio with my partner, Ryan Schnirel, who is also a ceramic artist. We are located near the village of Mendocino, California, about ten minutes inland from the Pacific Ocean and nestled on the edge of a dense 70-acre forest. Our studio is adjoined to our home, a redwood cabin, by a deck/walkway. Because the studio is only a few steps away, it’s no big deal to pop down the stairs and check on my work as it’s drying, or to have an after-dinner late-night making session. In addition to being in a beautiful forest, our location is ideal because it sits atop a large clay deposit. The wild clay here is special in that it’s workable right out of the ground, a lovely brick red to deep maroon when fired, and can handle temperatures above 2400°F (1316°C). We essentially have a lifetime supply of dreamy clay right beneath our feet.
Working in and sharing a confined space is challenging, mainly because the scale of my work continues to get larger and larger. One positive of being in a small space is that it doesn’t allow me to let unfinished work pile up. I have to be very efficient with finishing and firing work, so I can move it out of my studio and make room for the new. Because we are renting our space, we can’t make any major changes to the studio; thus, it is a very simple setup with a couple of worktables and shelves for works-in-progress. Luckily, the climate where we live is mild year-round, which allows us to utilize outdoor space as well. I have a large folding table outside for rolling big coils, while all of our slips, clays, and glazes are stored behind the studio in buckets or under tarps.
Paying Dues (and Bills)
I received a BFA from the University of Colorado, Boulder, in 2018. Since then, I have moved all over the country following various ceramic opportunities, primarily post-baccalaureate programs and residencies. One of the residencies was at Mendocino Art Center, which inevitably led me to settle in the area. I now teach non-credit ceramic classes at Mendocino College. I am lucky to have a flexible schedule outside of my day job. At least 2–4 days a week are spent solely in the studio. On studio days, I typically start with a slow morning, drinking coffee, doing yoga, and making breakfast. My goal is to get in the studio by 10am and then work for several hours, pull myself away for a late lunch, work until 7 or 8pm, and finally stop for dinner. If I have a deadline coming up, this schedule becomes more rigorous, and I will return to the studio after dinner and work until at least 10 or 11pm. I teach one day a week and then spend 1–2 days a week doing ceramic technician work.
I currently do not make enough money from my art to be a full-time studio artist, so my day job is integral to supporting my practice financially. That being said, my job complements my personal practice in invaluable ways. It helps me stay grounded by getting me out of my own echo chamber. I love working with my students because I am challenged by perspectives that are different from my own. Helping them solve problems in their work keeps me on my toes, constantly learning and growing alongside them.
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Published Jan 5, 2026
The new year is a natural time to look back at what has shaped us and look ahead to what we want in the future. One of my major goals is to improve my studio situation. Currently I work in my dark, cramped basement. I hope to one day move out of that subterranean space. It is probably not in the cards for a while, but I can dream, right?
To help remind me of what I am working toward, I love to look at the Studio Visit department in Ceramics Monthly each month. Today I thought I would share an excerpt from Grace Potter's studio visit in the January 2026 issue. If you have a similar dream of a beautiful space to work, this will be a great one for your "studio vision board." –Jennifer Poellot Harnetty, editor
PS. To learn more about Grace Potter, view the full article in the January 2026 issue of Ceramics Monthly. Not a subscriber? Subscribe today!
Studio
I share a small 10 × 12-foot (3 × 3.6-m) studio with my partner, Ryan Schnirel, who is also a ceramic artist. We are located near the village of Mendocino, California, about ten minutes inland from the Pacific Ocean and nestled on the edge of a dense 70-acre forest. Our studio is adjoined to our home, a redwood cabin, by a deck/walkway. Because the studio is only a few steps away, it’s no big deal to pop down the stairs and check on my work as it’s drying, or to have an after-dinner late-night making session. In addition to being in a beautiful forest, our location is ideal because it sits atop a large clay deposit. The wild clay here is special in that it’s workable right out of the ground, a lovely brick red to deep maroon when fired, and can handle temperatures above 2400°F (1316°C). We essentially have a lifetime supply of dreamy clay right beneath our feet.
Working in and sharing a confined space is challenging, mainly because the scale of my work continues to get larger and larger. One positive of being in a small space is that it doesn’t allow me to let unfinished work pile up. I have to be very efficient with finishing and firing work, so I can move it out of my studio and make room for the new. Because we are renting our space, we can’t make any major changes to the studio; thus, it is a very simple setup with a couple of worktables and shelves for works-in-progress. Luckily, the climate where we live is mild year-round, which allows us to utilize outdoor space as well. I have a large folding table outside for rolling big coils, while all of our slips, clays, and glazes are stored behind the studio in buckets or under tarps.
Paying Dues (and Bills)
I received a BFA from the University of Colorado, Boulder, in 2018. Since then, I have moved all over the country following various ceramic opportunities, primarily post-baccalaureate programs and residencies. One of the residencies was at Mendocino Art Center, which inevitably led me to settle in the area. I now teach non-credit ceramic classes at Mendocino College. I am lucky to have a flexible schedule outside of my day job. At least 2–4 days a week are spent solely in the studio. On studio days, I typically start with a slow morning, drinking coffee, doing yoga, and making breakfast. My goal is to get in the studio by 10am and then work for several hours, pull myself away for a late lunch, work until 7 or 8pm, and finally stop for dinner. If I have a deadline coming up, this schedule becomes more rigorous, and I will return to the studio after dinner and work until at least 10 or 11pm. I teach one day a week and then spend 1–2 days a week doing ceramic technician work.
I currently do not make enough money from my art to be a full-time studio artist, so my day job is integral to supporting my practice financially. That being said, my job complements my personal practice in invaluable ways. It helps me stay grounded by getting me out of my own echo chamber. I love working with my students because I am challenged by perspectives that are different from my own. Helping them solve problems in their work keeps me on my toes, constantly learning and growing alongside them.
emeliegracepotter.com
Instagram: @emeliegracepotter
Photos: Nikolas Zvolensky.
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