Project
Ash-Glazed Stoneware Vessel Series
Thrown from a high-iron clay and fired in a small downdraft kiln. Placement in the kiln changed how the ash settled, leaving everything from glossy caramel patches to dry crusts.
I am Li Jun Liang, a ceramic artist working from a small studio in Pretoria. My practice moves between sculptural vessels, functional tableware, and site-specific installations. Each piece starts with a specific clay body and a question about how fire, ash, and atmosphere will shape the surface.
The work here documents years of throwing, trimming, and wood-firing experiments. You will find process notes alongside finished pieces, exhibition records from regional galleries, and a small shop section with one-off mugs, bowls, and vases.
Whether you are looking for a single piece for a shelf, a full table setting, or a weekend spent learning to throw, the studio keeps things straightforward. Below are the three main ways to get involved, each with its own pace and level of commitment.
For collectors and interior designers sourcing original work. Each vessel, mug, or vase is one-off, thrown and fired by hand. You receive the piece with a short note on the clay body, firing temperature, and the process behind the form.
For a matching set or a site-specific installation. Commissions start with a conversation about the space, the intended use, and the surface qualities you are drawn to. I work in small batches, so lead time is usually four to six weeks.
Beginner hand-building classes held in the Pretoria area. Small groups, usually six to eight people, working with stoneware clay. You learn pinching, coiling, and slab building, then glaze your pieces in the second session.
A few pieces from the studio and recent writing that sit close to the main collection. Each project page records the clay body, firing temperature, and the decisions made at the wheel.
Project
Thrown from a high-iron clay and fired in a small downdraft kiln. Placement in the kiln changed how the ash settled, leaving everything from glossy caramel patches to dry crusts.
Project
Low-relief carvings of Pretoria flora on a translucent white body. The exterior stays unglazed so the carved lines keep a tactile quality, while the interior carries a clear glaze.
Journal
Notes on the practical side of commissioning a piece: reference images, size constraints, and how to describe the surface finish you have in mind.