My ceramic practice centers on storytelling through surface. I use colored porcelain to create intricate, quilt-like patterns inspired by textile design and fragments of daily life. Many of my patterns are drawn from the natural world—flowers growing along sidewalks, the shapes of leaves, the shifting sky, and the colors of the ocean.
Through clay, I try to translate these quiet, fleeting scenes into something tangible and lasting. My goal is to bring color and softness into everyday life by embedding these impressions into functional ceramic objects. Each slab becomes a gentle reflection of the world around me—subtle, tactile, and meant to be touched and used. This article walks through how I develop a patterned slab and use it to construct one of my ceramic mirror frames.
Preparing the Colored Clay
Begin by preparing the colored clay with ceramic stains. I typically use porcelain or a smooth white stoneware as a base. For each color, add 5–10% ceramic stain by weight, depending on the desired saturation (1). Wedge the color into the clay thoroughly until it is consistent and vibrant (2).
After wedging, seal each color in a plastic bag to keep the clay moist. I usually mix several colors in advance and store them this way, then take them out all at once when I’m ready to begin a new piece.
Constructing the Patterned Slab
Begin by rolling a ball of pre-colored clay into a round slab, aiming for about 5/16 inch (8 mm) thick and 7 inches (18 cm) in diameter (3). Use guide sticks to ensure the slab is an even thickness from edge to edge. To create the patterned surface, start with this slab of pre-colored porcelain. Choose a piece that is a different color from the base slab that you rolled out. Then, using your fingers, pinch small pieces of pre-colored clay into shapes like circles, teardrops, or organic dots. Gently press them into the slab while both are still soft (4). Instead of slicing or cutting shapes, treat the colored clay like tiny appliqué elements, embedding them directly by hand (5). After filling the surface, lightly compress the slab with your hands to secure the pieces and even out the thickness without distorting the design. The result is a soft, layered pattern that feels both spontaneous and textile-like.
Once the patterned slab design is complete, use a rolling pin to evenly flatten it to about 3/16 inch (5 mm) thick (6), flipping the slab after each pass. Use a soft rubber rib to compress both sides evenly (7).
Cutting and Framing
Next, use a clay knife to cut a freeform flower-like outer shape, keeping the slab as large as possible (8). Then, place a round bowl in the center as a guide and cut out a circle to form the mirror opening (9). Tip: The cut-out circle can be saved and repurposed into a plate.
After shaping the frame, gently smooth the edges with a damp sponge to soften any sharp lines.
Adding the Hanging Supports
Flip the form over and score the edge around the opening (10). This will add some tooth, or roughness, to the surface so the mirror can be epoxied to it after the firing.
To make the mirror hangable, I attach three small tabs to the back of the frame. These tabs are made from leftover pieces trimmed from the edges of the flower-shaped slabs. Cut them into small rectangles and poke two holes into each one (11). Note: It’s important to remember that the holes will shrink during firing, so they shouldn’t be too small.
Attach the tabs evenly around the back of the frame, approximately ¾–1⅛inch (2–3 cm) in from the inner circle cutout (12). This leaves enough space for the mirror to be added after firing. Besides functioning as a support for threading wire or hardware after firing, the tabs also lift the mirror slightly away from the wall, creating a subtle visual depth when the piece is hung.
Finishing the Surface
After bisque firing to cone 04, gently sand the surface of the mirror frame using fine-grit sandpaper (13). This step helps sharpen the edges of the inlaid patterns, which may have softened slightly during the forming process. Sanding enhances the clarity and contrast of each shape, making the overall design cleaner and more refined.
Once sanded, use a damp sponge to carefully wipe away any dust or residue from the surface. I intentionally leave the piece unglazed to preserve the natural texture and matte finish of the colored porcelain. This allows the surface to retain a soft, tactile quality and keeps the color true to its raw, fired state.
During the final firing, place the frame face down so the front surface rests flat against the kiln shelf. This ensures that the mirror frame’s front remains perfectly flat and smooth after firing. Then, fire to cone 6 in an electric kiln.
Mirror Installation
After the final firing and surface sanding with sandpaper, attach the mirror to the back of the ceramic frame using a two-part epoxy putty (such as AB glue or steel-reinforced epoxy). When pressing the mirror into place, it’s important to ensure the front surface is flat and even. Then, use tools to scrape away any excess adhesive and wipe off any visible residue with alcohol before it hardens (14). If there are gaps between the mirror and the frame, fill them with additional epoxy to make the attachment seamless. On the back side, make sure the putty doesn’t protrude beyond the mirror.
Once the mirror is securely in place, thread annealed brass wire through pre-made holes in the ceramic back to form a hanging loop (15). This allows the piece to be easily wall-mounted. The final result is both decorative and functional—a ceramic mirror that brings color and warmth to any space.
Renee Tsai is a ceramic artist based in Tainan, Taiwan. She runs her own studio, where she creates ceramic works and teaches regularly. She has participated in both domestic and international exhibitions, and has completed artist residencies abroad. See more at www.reneeceramics.comor @renee_ceramicson Instagram.
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My ceramic practice centers on storytelling through surface. I use colored porcelain to create intricate, quilt-like patterns inspired by textile design and fragments of daily life. Many of my patterns are drawn from the natural world—flowers growing along sidewalks, the shapes of leaves, the shifting sky, and the colors of the ocean.
Preparing the Colored Clay
Begin by preparing the colored clay with ceramic stains. I typically use porcelain or a smooth white stoneware as a base. For each color, add 5–10% ceramic stain by weight, depending on the desired saturation (1). Wedge the color into the clay thoroughly until it is consistent and vibrant (2).
After wedging, seal each color in a plastic bag to keep the clay moist. I usually mix several colors in advance and store them this way, then take them out all at once when I’m ready to begin a new piece.
Constructing the Patterned Slab
Begin by rolling a ball of pre-colored clay into a round slab, aiming for about 5/16 inch (8 mm) thick and 7 inches (18 cm) in diameter (3). Use guide sticks to ensure the slab is an even thickness from edge to edge. To create the patterned surface, start with this slab of pre-colored porcelain. Choose a piece that is a different color from the base slab that you rolled out. Then, using your fingers, pinch small pieces of pre-colored clay into shapes like circles, teardrops, or organic dots. Gently press them into the slab while both are still soft (4). Instead of slicing or cutting shapes, treat the colored clay like tiny appliqué elements, embedding them directly by hand (5). After filling the surface, lightly compress the slab with your hands to secure the pieces and even out the thickness without distorting the design. The result is a soft, layered pattern that feels both spontaneous and textile-like.
Once the patterned slab design is complete, use a rolling pin to evenly flatten it to about 3/16 inch (5 mm) thick (6), flipping the slab after each pass. Use a soft rubber rib to compress both sides evenly (7).
Cutting and Framing
Next, use a clay knife to cut a freeform flower-like outer shape, keeping the slab as large as possible (8). Then, place a round bowl in the center as a guide and cut out a circle to form the mirror opening (9). Tip: The cut-out circle can be saved and repurposed into a plate.
After shaping the frame, gently smooth the edges with a damp sponge to soften any sharp lines.
Adding the Hanging Supports
Flip the form over and score the edge around the opening (10). This will add some tooth, or roughness, to the surface so the mirror can be epoxied to it after the firing.
To make the mirror hangable, I attach three small tabs to the back of the frame. These tabs are made from leftover pieces trimmed from the edges of the flower-shaped slabs. Cut them into small rectangles and poke two holes into each one (11). Note: It’s important to remember that the holes will shrink during firing, so they shouldn’t be too small.
Attach the tabs evenly around the back of the frame, approximately ¾–1⅛ inch (2–3 cm) in from the inner circle cutout (12). This leaves enough space for the mirror to be added after firing. Besides functioning as a support for threading wire or hardware after firing, the tabs also lift the mirror slightly away from the wall, creating a subtle visual depth when the piece is hung.
Finishing the Surface
After bisque firing to cone 04, gently sand the surface of the mirror frame using fine-grit sandpaper (13). This step helps sharpen the edges of the inlaid patterns, which may have softened slightly during the forming process. Sanding enhances the clarity and contrast of each shape, making the overall design cleaner and more refined.
Once sanded, use a damp sponge to carefully wipe away any dust or residue from the surface. I intentionally leave the piece unglazed to preserve the natural texture and matte finish of the colored porcelain. This allows the surface to retain a soft, tactile quality and keeps the color true to its raw, fired state.
During the final firing, place the frame face down so the front surface rests flat against the kiln shelf. This ensures that the mirror frame’s front remains perfectly flat and smooth after firing. Then, fire to cone 6 in an electric kiln.
Mirror Installation
After the final firing and surface sanding with sandpaper, attach the mirror to the back of the ceramic frame using a two-part epoxy putty (such as AB glue or steel-reinforced epoxy). When pressing the mirror into place, it’s important to ensure the front surface is flat and even. Then, use tools to scrape away any excess adhesive and wipe off any visible residue with alcohol before it hardens (14). If there are gaps between the mirror and the frame, fill them with additional epoxy to make the attachment seamless. On the back side, make sure the putty doesn’t protrude beyond the mirror.
Once the mirror is securely in place, thread annealed brass wire through pre-made holes in the ceramic back to form a hanging loop (15). This allows the piece to be easily wall-mounted. The final result is both decorative and functional—a ceramic mirror that brings color and warmth to any space.
Renee Tsai is a ceramic artist based in Tainan, Taiwan. She runs her own studio, where she creates ceramic works and teaches regularly. She has participated in both domestic and international exhibitions, and has completed artist residencies abroad. See more at www.reneeceramics.com or @renee_ceramics on Instagram.
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