Favorite Tool: A wooden knife that has been worn down from years of use into the perfect shape.
Describe the first clay piece you made that you thought had potential. Early in my experience with clay, I remember being excited to make progress pulling handles that seemed “right” to me. I think this was the beginning of learning to see the pots I was making for what they are. I’m still trying to learn how to see!
What are you inspired by? I grew up with a potter dad, and my family loves cooking, feeding friends, and eating. That remains important. The pots and potters I was surrounded by throughout my childhood absolutely imprinted on me. I’m inspired by textiles, plants, and folk art, too!
What is your process for finding/designing new forms? I love looking to historic pots for reference points or new ideas. An image of a 9th-century ceramic lantern excavated in Iran led me to play with relief carving and cutting out patterns in clay. I also like to repeat forms I have already made and see how variation arises organically.
Favorite piece in your ceramic collection? A special one is a small, perfectly proportioned porcelain bowl by Shirley Johnson. I think it was a gift from my parents to my grandmother. When she died, it came to me. It’s been chipped and patched, but I still love it.
Best piece of advice you have ever received? Don’t get hung up on one individual pot. Make more and keep moving forward.
Best advice you can give to other potters? There are lots of ways to be a potter. Focus on what makes you happy, not what one person or institution is telling you to do.
Describe your studio. My spouse and I converted an old collapsing front porch on our house into a cozy, insulated throwing space for me. It’s small, but I am so grateful for it. I bisque fire my pots in a former chicken coop in the backyard and cart them over to my dad Guillermo Cuellar’s gas kiln to glaze and fire.
Best thing about your studio? My throwing space has beautiful light. It’s attached to my house, so I can easily cover or uncover pots as needed when they’re drying. I also like collaborating with my dad on firings, as well as mixing glazes and making clay. It’s a good break from solitary work at home.
Wish list for your studio? To have my throwing, glazing, and firing spaces under the same roof. I spend a lot of time moving clay and pots around.
Describe a typical day in the studio. This varies depending on where I am in the making cycle. If I’m making pots at home, I try to get started by 8 or 9am, taking a break around 2pm to workout or walk my dog. Stretching and exercise help me avoid the hazards of repetitive motion in the studio. I like listening to music, audiobooks, or podcasts as I work.
To read more about Alana’s process, take a look at her article Relief Carving 2 Ways.
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Clay Body: Continental Clay Tableware
Firing Temperature: Cone 10
Atmosphere: Reduction
Favorite Surface Treatment: Glaze
Favorite Forming Method: Wheel throwing
Favorite Tool: A wooden knife that has been worn down from years of use into the perfect shape.
Describe the first clay piece you made that you thought had potential. Early in my experience with clay, I remember being excited to make progress pulling handles that seemed “right” to me. I think this was the beginning of learning to see the pots I was making for what they are. I’m still trying to learn how to see!
What are you inspired by? I grew up with a potter dad, and my family loves cooking, feeding friends, and eating. That remains important. The pots and potters I was surrounded by throughout my childhood absolutely imprinted on me. I’m inspired by textiles, plants, and folk art, too!
What is your process for finding/designing new forms? I love looking to historic pots for reference points or new ideas. An image of a 9th-century ceramic lantern excavated in Iran led me to play with relief carving and cutting out patterns in clay. I also like to repeat forms I have already made and see how variation arises organically.
Favorite piece in your ceramic collection? A special one is a small, perfectly proportioned porcelain bowl by Shirley Johnson. I think it was a gift from my parents to my grandmother. When she died, it came to me. It’s been chipped and patched, but I still love it.
Best piece of advice you have ever received? Don’t get hung up on one individual pot. Make more and keep moving forward.
Best advice you can give to other potters? There are lots of ways to be a potter. Focus on what makes you happy, not what one person or institution is telling you to do.
Describe your studio. My spouse and I converted an old collapsing front porch on our house into a cozy, insulated throwing space for me. It’s small, but I am so grateful for it. I bisque fire my pots in a former chicken coop in the backyard and cart them over to my dad Guillermo Cuellar’s gas kiln to glaze and fire.
Best thing about your studio? My throwing space has beautiful light. It’s attached to my house, so I can easily cover or uncover pots as needed when they’re drying. I also like collaborating with my dad on firings, as well as mixing glazes and making clay. It’s a good break from solitary work at home.
Wish list for your studio? To have my throwing, glazing, and firing spaces under the same roof. I spend a lot of time moving clay and pots around.
Describe a typical day in the studio. This varies depending on where I am in the making cycle. If I’m making pots at home, I try to get started by 8 or 9am, taking a break around 2pm to workout or walk my dog. Stretching and exercise help me avoid the hazards of repetitive motion in the studio. I like listening to music, audiobooks, or podcasts as I work.
To read more about Alana’s process, take a look at her article Relief Carving 2 Ways.
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