From Earth to Keepsake

From Earth to Keepsake

The Journey of a Stoneware Piece

An intimate look at how each handmade vessel comes to life.  There’s something grounding about holding a handmade object, something that began as earth and was slowly transformed by human touch, intention, and fire. In my studio, every piece starts the same way: with a lump of clay and a quiet pause before the making begins.

1. The Clay

I work primarily with stoneware, a durable, refined clay that holds form beautifully and fires to a neutral white tone. The clay body I chose has a certain responsiveness to touch. It’s firm, but not rigid. Malleable, yet structured. It’s the perfect partner for hand-building.

2. Hand-Building the Form

Rather than using a wheel, I build each piece by hand using pinching, coiling, and slab techniques. This method is slower but deeply meditative. It allows the form to evolve naturally, responding to my hands, to the moisture in the air, even to the mood of the day. After the form itself is complete, the fun truly begins. I get the joy of refining the surface, trimming, carving, and adding textures inspired by botanical patterns. This is where much of the character emerges. No two pieces are ever exactly alike. Slight asymmetries and quiet variations are part of the soul of the work.

3. Drying & Refinement

Once formed, each piece rests for a day or two before I begin the careful cleanup process. Using a damp brush and a light touch, I refine the surface, removing rough edges and smoothing joins. I work slowly and carefully, ever mindful not to disturb the form or applied elements. After cleanup, I wrap the piece in cotton cloth to encourage slow, even drying. Because I often work with appliqués, which tend to dry faster than the main body, this step is essential. Uneven drying can cause cracks or breakage, so I allow each piece to dry gradually over several weeks. This long, controlled drying period is essential to the future integrity and success of the piece.

4. Bisque Firing

When the clay is fully dry, the piece goes into the kiln for its first firing, known as bisque. This transforms it from fragile clay into a porous ceramic that’s ready to receive glaze. It’s always a thrill to open the kiln and see that the work has survived this step.

5. Glazing

Glazing is both chemistry and intuition. I use non-toxic conventional glazes and apply them with intention by brush. I gravitate toward satin and matte finishes that allow texture and form to shine through without distraction.

6. Final Firing

The glazed pieces return to the kiln, this time to much higher temperatures. The glazes melt, fuse, and settle, often with subtle surprises that make each piece feel like a small discovery. I always say, “it feels like Christmas” when you get your work back from a glaze fire. Once cooled, the piece is complete: sturdy, beautiful, and meant to last.