The studio began in the corner of a shared workshop, with one secondhand wheel and a kiln that had to be talked into reaching temperature. We now have a small converted workshop of our own, which mostly means there is finally somewhere to put the drying boards.
Two people, one kiln
Everything on this site is made by the two of us. There is no production line and nothing is outsourced. One of us throws, the other glazes, and we both unpack the kiln because that is the good part.
Working at this size limits what we can offer — we fire roughly twice a month and each firing holds about forty pieces. When something sells out, it stays out until the next firing. We would rather do that than make more of something badly.
Why the pieces vary
Every bowl is centred, opened and pulled by hand. The wall thickness varies by a millimetre or two, the rim wanders slightly, and the glaze breaks differently over every edge. None of that is a defect. It is the direct evidence that a person made the object rather than a mould.
If you want twelve identical plates, we are honestly the wrong studio. If you want twelve plates that clearly belong to each other, we can do that.
The clay
We use a speckled grey stoneware with a high iron content, sourced from a supplier two hours south of us. The iron is what produces the freckling you see through the glaze — it blooms during the firing and cannot be predicted or repeated exactly.
Everything is fired at a high stoneware temperature, which makes the body dense and fully sealed. The result is chip-resistant and safe in the dishwasher, the microwave and the oven.