The maker behind the clay
Made by hand, shaped with heart
Every pot, bowl, and mug that leaves my studio carries a little piece of the process — the quiet mornings, the spinning wheel, the happy accidents that become my favorite pieces.
How it all started
I picked up clay for the first time at a community studio class, expecting a fun afternoon. What I found instead was something that felt like coming home. The weight of it, the way it responds to pressure, the total presence it demands — I was hooked.
A few years and many lopsided mugs later, I set up my own wheel in a converted garage and started making pieces I actually wanted to live with. Functional, honest, a little imperfect — the way handmade things should be.
Pots N Stuff grew out of that garage studio. I still throw every piece myself, glaze by hand, and fire in small batches. No two pieces are exactly alike, and that's exactly the point.
"Handmade objects carry time. When you hold one of my pieces, you're holding the hours I spent at the wheel, the decisions I made about form and glaze, the small imperfections that prove a human made it."
I make pottery because I believe the world needs more things that were made slowly, with care, by someone who thought about how they'd feel in your hands. I hope my pieces find their way into daily rituals — morning coffee, a dinner with friends, a flower from the garden.
The process
From raw clay to your table — each step done slowly, on purpose.
Wedging & centering
Every piece starts with wedging the clay to remove air bubbles, then centering it on the wheel. It's meditative, repetitive, and essential.
Throwing & shaping
I open the clay and pull the walls up by hand. The form emerges slowly — I never rush this part. A mug might take ten minutes; a wide bowl, much longer.
Drying & trimming
Pieces dry slowly to leather-hard, then I trim the foot ring and refine the shape. This is where a rough form becomes something considered.
Bisque firing
The first kiln firing burns off moisture and hardens the clay. After this, pieces are ready to glaze.
Glazing by hand
I mix and apply glazes by hand — dipping, brushing, layering. The results are never fully predictable, which is what makes each piece unique.
Glaze firing
The final firing reaches over 2300°F. The kiln does its own thing in there. Opening it is always a little like Christmas morning.