Over the years, pieces from this studio have found their way into private collections, restaurant tables, and gallery shelves. The notes below come from people who have bought work directly, commissioned a piece, or joined a hand-building session. They are shared as they were written, without embellishment.
Over the years, pieces have left the studio for private homes, gallery shelves, and restaurant tables. The notes below come from people who bought work directly, commissioned a set, or joined a hand-building class. No edits, no polishing.
Collector, Johannesburg
I bought a large ash-glazed vessel at a group show two years ago. It sits on a sideboard in our dining room and catches the late afternoon light in a way that still surprises me. The surface has a roughness you want to touch, but it feels balanced, not decorative.
Mara Venter
Interior designer, Pretoria
We sourced a set of carved porcelain bowls for a client's new kitchen. The brief was simple: pieces that feel handmade but work with clean cabinetry. The carving is subtle enough to live with daily, and the unglazed exterior has held up well through regular use.
Thabo Nkosi
Workshop participant
The beginner hand-building class was exactly what I needed. Small group, clear demonstrations, and enough time to actually finish a mug and a small bowl. I came in with no experience and left understanding why the clay behaves the way it does.
Lindiwe Mokoena
Gallery curator, Gauteng
We hosted the Clay Memory installation at a decommissioned factory site. The unfired bricks and ceramic fragments created a quiet, tactile conversation with the building's history. Visitors responded strongly, many spending time walking the length of the wall and touching the surfaces.
Elsa Botha
Restaurant owner, Pretoria
Commissioned a set of stoneware plates and serving bowls for our tasting menu. The pieces have a sturdy, honest feel that matches the food we serve. After a year of constant dishwashing, only one bowl has chipped, and that was our fault, not the work's.
Pieter van der Merwe
"What I appreciate about Li Jun's work is the honesty of the material. The kiln decides part of the outcome, and that unpredictability is visible in every piece. It is not about perfection; it is about the conversation between the maker, the clay, and the fire."
From a studio visit note, 2024
These are notes from people who bought a piece, commissioned a set, or spent a few weekends at the wheel. No staged praise, just what stuck with them after the clay had dried and the kiln had cooled.
Interior designer
I sourced three ash-glazed vessels for a client's dining room. The surfaces are what sold me, but the weight and balance are what made them stay. Li Jun understood the space without me having to explain much.
Marlene V.
Commissioned tableware set
Collector
The porcelain bowl I bought two years ago still gets used every week. It has a hairline crack from a clumsy drop, but that only adds to the story. I keep coming back to the studio because each piece feels considered, never rushed.
Thabo M.
Porcelain bowl, 2023
Workshop participant
I joined the beginner hand-building class with zero experience. By the third session I had made a mug I actually use at work. The group is small, so you get real feedback on your technique, not just a demonstration.
Naledi K.
Hand-building course, Pretoria
Gallery curator
The installation at the old brick factory was the quiet anchor of the whole show. Li Jun's ability to connect material history with a contemporary form is rare. Visitors kept touching the unfired bricks, which says everything.
Anika S.
Group exhibition, Gauteng
Restaurant owner
We ordered a run of stoneware plates for a tasting menu. They handle the dishwasher better than I expected, and the glaze variations mean no two tables look identical. Guests ask about them constantly.
Pieter D.
Custom stoneware order
Gift recipient
My partner bought me a carved porcelain vase for our anniversary. It sits on the windowsill and catches the afternoon light in a way that photos never quite capture. The carving is delicate but sturdy enough for daily flowers.
Retha B.
Botanical porcelain vase
If you are considering a commission or a workshop spot, the best way to understand the work is to handle it. Studio visits are welcome by appointment, and I am happy to talk through clay bodies, firing temperatures, and what makes a piece right for your space.