Hi Clare. Let's start at the beginning - where did your interest in ceramics begin?
I discovered ceramics while studying architecture at university in the United States. The college of architecture had its own pottery studio and students were encouraged to experiment in different media in the first years of the program. I ended up switching out of architecture after two years, but my love of ceramics remained!
Can you tell me a little about your journey to becoming a professional ceramicist?
After university, I pursued my interest in ceramics through evening classes and residential courses while working in other professions, first in New York and then London. I knew in my heart that I was meant to be a potter but at that time I didn’t believe it was possible to make a living in that way.
In 2015, after 20 years in the financial services industry, I decided to finally make my fantasy into a reality. I joined Turning Earth, an open-access members studio in Hackney, which enabled me to make work on a regular basis. After a couple of years, I started working as a technician and a teacher at Turning Earth and Crown Works Pottery, another east London studio. During this time I also started selling my work through Turning Earth and other London ceramics markets.
In 2022, I moved to In Production, Turning Earth’s studio for emerging professional makers where I also took on the role of studio manager. Soon after, I started to participate in national ceramics fairs and to sell my work through a number of retail stockists and galleries, including the beautiful Land Tales Store!
Who are the people who have had the biggest impact on your work, whether as mentors or people who inspire you?
There are two people who have had a significant impact on my work in a practical sense. The first is John Dawson, who was my teacher for many years at Putney School of Art. John taught me many skills and introduced me to the joys and pains of working with porcelain. The second person is my husband Simon, who has given me unconditional support since I started as a full time potter, enabling me to attend residential workshops and multi-day ceramics fairs. He even manned my stall this year at Ceramics in the City so that I could attend a family event in the US!
How do you describe the style of your work? How has your style evolved?
My work is influenced by my interest in architecture and design. When I started making full-time, I was exclusively throwing in porcelain but I now make work primarily in stoneware. While I love the elegant simplicity of porcelain, it is a challenging material to work with, for a variety of reasons. Since 2022, I have had access to a gas kiln and have found that the types of glazes and surface finishes that I can get with a reduction firing fit better with my aesthetic vision. But I do still use porcelain for a few beloved pieces, like my short coffee cups.
If you had to describe your work in three words, what would they be?
Streamlined, architectural, design-led.
Is there such a thing as a typical week (or month) for you?
Not really, but that’s quite okay with me! I wear several different hats in my professional life - maker, studio manager, teacher - which means my days can be varied depending on what’s required of me from each of those roles. But generally, I’ll start the day dealing with admin and paperwork as I have my coffee.
I aim to get into the studio by 11am-ish. Once I’m there, my time is divided between making and dealing with the demands of the studio, such as kiln repair, general maintenance and assisting members. I usually teach two or three classes a week, some in the evening and some during the day. I really enjoy teaching and get a lot of satisfaction from helping people progress on their own pottery journeys.
Do you have any favourite pieces to make?
Bottles. I love the challenge of throwing taller, narrower pieces!
Can you tell me about the studio space you work in?
In Production is a communal ceramics studio for emerging makers based on an industrial estate in Leyton, East London. That’s not as grim as it might sound! There are many creative businesses based there along with the light industry. The studio itself has high ceilings and lots of light. I enjoy being part of a shared studio. It offers companionship and conversation throughout the day, but also a community of makers who support each other both creatively and personally.
How do you find running the business side of things? Are there any particular challenges, or parts you find most rewarding?
There are aspects of the business side of things that I quite enjoy - interacting with my stockists, selling at markets and weirdly, the admin! But the biggest challenge for me is the marketing side of things. I don’t feel particularly confident with my photography skills or social media. But I’m hoping to get a nice digital camera from Santa this year so that will help push me a bit on this front.
Is there any advice you'd give to an aspiring ceramicist?
My advice to aspiring ceramicists is to make what you love, not what you think people will buy. Otherwise, your making will become a chore, rather than a joy. If you find beauty in your pieces, there are other people in the world who will value them as well. Also, keep educating yourself. Make time in your work life to take courses or participate in activities that will help you continue growing and developing as a ceramicist.
What's coming up for you in the next few months - and/or beyond?
The Christmas season is always busy and I’ll be participating in a number of markets, open studios and exhibitions in London and Cambridge. In 2025, I’m hoping to organise a wood firing with some colleagues. I love the effects of wood firing and it’s been a while since I’ve done one, so I am super excited to get back to it!
And finally, is there something you'd particularly like to make in the future, or a new clay-based challenge you're keen to take on?
My goal in 2025 is to educate myself on glaze chemistry and work on formulating my own glaze recipes. This is the one aspect of ceramics I haven’t yet delved into very deeply and I think it's time!
Studio and portrait images courtesy of Clare Spindler, taken by Lucy Tanner @lucytannerphotography. Images of ceramics are © Land Tales.
