Clay body: Coarse iron-rich stonewares and local clays
Firing temperature: Cone 7–9
Atmosphere: Wood firing, reduction cooling
Surface treatment: Iron-rich slips
Forming method: Slab building on hump/slump molds
Favorite tools: Basic metal rib cut in half and a Mudtools red rib
Describe the first piece you made in clay that you thought had potential. At the start of my career, I worked with commercial bagged clays and studio glazes. But the first time I developed my own clay body, it felt like opening a door to endless possibilities. I place great importance on the relationship between form and material, and that sense of discovery continues to drive my studio practice today.
What are you inspired by? Like many others, I draw inspiration from a wide variety of sources. While these influences may not directly shape what I create, they more simply inspire me to get to the studio and make something of my own.
What is your process for finding/designing new forms? Finding new forms or directions in my work often happens spontaneously. I assisted Jen Allen at a workshop years ago and she talked a lot about “3D sketching,” the idea really stuck with me. Exploring forms and variations by casually building, deconstructing, and altering small pieces quickly and seeing what grabs my attention. I prefer this type of exploration over working in my sketchbook to draft new ideas.
Who are your mentors? I’m fortunate to have had many mentors support and guide me throughout my time working in clay, some of whom are still in my orbit, including my current faculty John Neely, Dan Murphy, Todd Hayes, and Ryochi Suzuki.
Favorite piece in your ceramic collection? My favorite pot in my collection is a handbuilt, triangular bowl made by Tim Rowan. Even after living with it for years, I still find it mysterious in many ways.
Best piece of advice you ever received? Make what you want to make, those who appreciate and want to understand what you do will find you.
Describe your studio. My studio is a partitioned space within a large room shared with my fellow graduate students. It’s a small space, around 8×10 feet (2.4×3 m), which I have built out with ware shelves, two tables, and shelving to hold various tools, molds, books, and pots I like to keep around. I also have a wide range of facilities and kilns available to me.
Best thing about your studio? The best part of my studio is sharing the space with my graduate cohort. Whether I need advice or just a break from studio solitude, there is bound to be a friendly face just steps away.
Wish list for your studio? The graduate studios are landlocked in the center of the building, so I would love a window! Other than that I am fortunate to have almost anything I might need throughout USU’s extensive facilities.
Describe a typical day or session in the studio. My studio practice currently revolves around my program. Long studio days are broken up by the courses I am enrolled in, the courses I instruct, work-study positions, and frequent coffee breaks.
To read more about Nikita’s process, turn to pages 29–32.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Pottery Making Illustrated premium content, subscribe right now for as low as $3.60/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Pottery Making Illustrated
Clay body: Coarse iron-rich stonewares and local clays
Firing temperature: Cone 7–9
Atmosphere: Wood firing, reduction cooling
Surface treatment: Iron-rich slips
Forming method: Slab building on hump/slump molds
Favorite tools: Basic metal rib cut in half and a Mudtools red rib
Describe the first piece you made in clay that you thought had potential. At the start of my career, I worked with commercial bagged clays and studio glazes. But the first time I developed my own clay body, it felt like opening a door to endless possibilities. I place great importance on the relationship between form and material, and that sense of discovery continues to drive my studio practice today.
What are you inspired by? Like many others, I draw inspiration from a wide variety of sources. While these influences may not directly shape what I create, they more simply inspire me to get to the studio and make something of my own.
What is your process for finding/designing new forms? Finding new forms or directions in my work often happens spontaneously. I assisted Jen Allen at a workshop years ago and she talked a lot about “3D sketching,” the idea really stuck with me. Exploring forms and variations by casually building, deconstructing, and altering small pieces quickly and seeing what grabs my attention. I prefer this type of exploration over working in my sketchbook to draft new ideas.
Who are your mentors? I’m fortunate to have had many mentors support and guide me throughout my time working in clay, some of whom are still in my orbit, including my current faculty John Neely, Dan Murphy, Todd Hayes, and Ryochi Suzuki.
Favorite piece in your ceramic collection? My favorite pot in my collection is a handbuilt, triangular bowl made by Tim Rowan. Even after living with it for years, I still find it mysterious in many ways.
Best piece of advice you ever received? Make what you want to make, those who appreciate and want to understand what you do will find you.
Describe your studio. My studio is a partitioned space within a large room shared with my fellow graduate students. It’s a small space, around 8×10 feet (2.4×3 m), which I have built out with ware shelves, two tables, and shelving to hold various tools, molds, books, and pots I like to keep around. I also have a wide range of facilities and kilns available to me.
Best thing about your studio? The best part of my studio is sharing the space with my graduate cohort. Whether I need advice or just a break from studio solitude, there is bound to be a friendly face just steps away.
Wish list for your studio? The graduate studios are landlocked in the center of the building, so I would love a window! Other than that I am fortunate to have almost anything I might need throughout USU’s extensive facilities.
Describe a typical day or session in the studio. My studio practice currently revolves around my program. Long studio days are broken up by the courses I am enrolled in, the courses I instruct, work-study positions, and frequent coffee breaks.
To read more about Nikita’s process, turn to
pages 29–32.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents