Whether you are looking for a single sculptural vessel, sourcing original tableware for an interior project, or want to learn hand-building in Pretoria, this page explains how the studio works with each part of its audience.
For collectors, interior designers, and workshop participants, the studio offers a few clear ways to engage with the work. Each path is direct, with no intermediaries, and starts with a conversation about what you need.
A vessel or sculpture made to your brief, from initial sketches to the finished fired form. You choose the clay body, surface treatment, and scale. The studio handles everything from throwing to final kiln firing, with progress updates at each stage.
Typical lead time is six to eight weeks, depending on drying and firing schedules. Works are documented before delivery, and shipping within South Africa is arranged directly.
Interior designers and stylists can request a curated selection of mugs, bowls, plates, and vases for a specific project. The studio works with you on quantities, glaze tones, and whether pieces should match an existing palette or stand as accents.
Orders are filled from current stock or made to order in small batches. Each piece is one-off, so slight variations in surface are part of the character.
Beginner classes in the Pretoria area cover pinch pots, coil building, and slab work. You learn to prepare clay, shape forms by hand, and apply a simple glaze. Classes run in small groups, so there is room to work at your own pace.
All materials and tools are provided. Finished pieces are fired and ready for collection about two weeks after the session.
The studio is open by appointment for those who want to see works in person, discuss a commission, or simply look through the shelves of finished pieces. Visits include a short walk through the working area, where you can see recent firings and works in progress.
Appointments are available on weekdays and most Saturday mornings. Bring your measurements or reference images if you have a specific spot in mind.
A full list of past exhibitions, artist talks, and published work is available for curators, writers, and researchers. This includes installation views, catalogue texts, and documentation of individual pieces from each show.
Records are shared as a PDF portfolio or a curated selection of images, depending on what you need it for.
The shop section lists current mugs, bowls, and vases as they come out of the kiln. Each listing shows multiple angles, the clay body, firing temperature, and the story behind the form. Pieces are listed when available and removed once sold.
If a piece catches your eye but is already gone, similar works are often in progress. You can ask to be notified when the next batch is ready.
Not sure which option fits your situation? A short conversation usually clears it up.
Reach the studio See the full range of servicesWhether you are a collector, an interior designer, or someone who wants to learn the craft, the value is in the material knowledge and the hands-on process. Here is what that means in practice.
Every vessel in the portfolio is tied to a specific clay body, glaze recipe, and firing temperature. You are not buying a generic object; you are getting a piece with a clear material story, from the throwing process to the kiln atmosphere that shaped its surface.
Functional pieces are tested beyond the studio. Mugs are thrown with comfortable handles, bowls are trimmed to sit steadily, and glazes are chosen to withstand regular washing. The forms are meant to be handled, not just displayed.
When you source a piece or commission a set, you work directly with the person who throws, glazes, and fires it. That means clear answers about materials, lead times, and what can be adjusted. No middlemen, no vague product descriptions.
Workshop participants get more than a demonstration. You learn the actual sequence: preparing clay, pinching and coiling, joining pieces, and understanding when leather-hard is the right moment to work. You leave with a finished piece and a clear sense of the next steps.
Interior designers often need pieces that respond to a specific palette or texture. The portfolio is organized by surface treatment and clay type, so you can quickly find work that matches a project's direction, whether that is raw terracotta or ash-glazed stoneware.
For collectors, the exhibition history adds context to the work. Knowing where a piece was shown, and what the artist discussed in a talk, gives you a fuller picture of the practice behind the object. It is useful when building a collection with intention.