3 Bold Collections in Clay

Exploring Clay: My Journey with Ceramics

“Don’t think about making art; just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

— Woody Allen

“In England, there is a dividing line between artists and illustrators, who are thought inferior to painters. Well, that’s absolute rubbish. Some of the most creative work is being done in children’s books. In Japan, everything is art. They don’t say painting is better than ceramics or dress design.”

— Brian Wildsmith

Three Collections: Finding Art in Clay

In 2017, I set up a studio intending to translate my cancer experience into a visual form. I had imagined painting as my medium, yet something about the process felt forced and disconnected—as if the canvas resisted the rawness of what I wanted to express.

Then, I discovered clay.

What began as an experiment soon became an obsession. The ability to shape, mold, and build felt liberating—a form of expression that embraced imperfection rather than resisting it. Unlike painting, where an image is fixed once the brushstroke lands, ceramics invited me into a dialogue with the material itself.

I started with classes at Santa Monica College and the Pasadena Art Center, learning the basics. But I quickly realized that the wheel wasn’t for me—too structured, too symmetrical. Instead, I found my rhythm in hand-building techniques, exploring the sculptural possibilities of coil and slab construction. These methods allowed me to layer textures, manipulate form, and embrace the unpredictability of the kiln.

Clay, I learned, was a teacher. It cracked when pushed too far, collapsed when unbalanced, and yet, in its most fragile state, it held the possibility of transformation.

Candle Holders: The Beauty in Breaking

My first honest exploration of ceramics took the form of candle holders, an attempt to play with vertical compositions. I combined glazed ceramic spheres with twisted glass rods, assembling them into delicate towers that rested on wooden bases.

One day, while assembling a piece, one of the ceramic balls shattered. My first instinct was frustration—I had spent hours perfecting the form. But instead of discarding it, I remembered the Japanese art of Kintsugi—the practice of repairing broken pottery with gold, highlighting the cracks rather than hiding them.

Using gold lacquer to trace the fractures, I glued the pieces back together. Instead of looking broken, the ceramic felt whole again—but in a new, more profound way.

Kintsugi embodies a philosophy I deeply connect with: wounds don’t diminish beauty—they define it. Repairing something, whether an object or a part of ourselves, can make it even more valuable, resilient, and honest.

Watch: Kintsugi – The Japanese Art of Repairing Broken Ceramics

Vases: Carving Patterns, Capturing Stories

As my journey with ceramics evolved, I moved toward vases, experimenting with slab rolling. This technique allowed me to transfer patterns onto the clay before shaping it into a cylindrical form.

Each vase begins as a flat slab of clay, rolled out to the right thickness. To create texture, I press it against unexpected surfaces: rubber mats, carved wood, and fabric with deep weaves. The slab then wraps around a PVC pipe, forming its structure. After shaping, I let it dry to the leather-hard stage, where I can refine its edges before it undergoes its first firing.

Glazing is another conversation. Some vases demand deep, rich glazes that enhance the patterns, while others remain minimalist, allowing the texture itself to speak. Each piece holds its own history—a moment frozen in time, waiting for fire to transform it.

Porcelain Plates: The Intersection of Tradition and Modernity

Unlike my other ceramic pieces, porcelain plates bring a sense of precision. Porcelain, made from kaolin clay, is both delicate and incredibly durable. Fired at extreme temperatures, it takes on a translucent quality, and its surface is smooth yet rich with potential for design.

One technique I explored was sublimation printing, a process where heat and pressure transfer images onto the plate. This allowed me to merge traditional ceramics with contemporary storytelling, imprinting personal narratives, abstract forms, and even photography onto functional objects.

The idea fascinated me—could a plate hold more than just food? Could it carry memory, emotion, and history?

Anna Silver at AMOCA: Silver Splendor

Explore the innovative works of ceramic artist Anna Silver.

Reflections: Why Clay?

I return to the question often—why clay?

At first, it was simply a matter of curiosity, but now, years later, I see ceramics as an act of reconciliation. It is the perfect medium for someone who seeks both control and surrender. It is about transformation, embracing imperfection, and understanding that fire does not destroy—it refines.

More than anything, working with clay has taught me how to notice. The way a glaze pools into a crevice, the way a crack forms where stress is too great—these small details mirror life itself. They remind me that beauty often emerges from imperfection and that strength comes from being willing to break and be rebuilt.

I continue to explore. I continue to create. I continue to let clay guide me—because I see a reflection of my journey in its soft, malleable form.

January 2018