Commissioned ceramic sculpture, handcrafted tableware for interiors, and beginner hand-building workshops in the Pretoria area. Each piece is made in small batches, with attention to clay body, firing temperature, and the story behind the form.
A few clarifications about how commissions, workshop bookings, and the shop operate. These points are meant to prevent misunderstandings before we start a conversation.
Each commissioned vessel is made by hand in a single session, so no two pieces are identical. Slight variations in glaze thickness, foot ring width, and surface texture are part of the work, not defects. If you need a matching set, discuss this before the throwing stage; exact duplicates are not possible, but I can keep the clay body and firing schedule consistent.
Every piece in the shop and in project documentation lists the clay body, glaze type, and firing temperature. Wood-fired work will show ash deposits and flame marks that vary by kiln position. If a piece is marked as food-safe, it has been tested with the specific glaze and clay combination used. Pieces without this label are decorative only.
Beginner hand-building classes are limited to six participants per session so that each person gets enough bench time. Aprons and basic tools are provided, but you are welcome to bring your own. Firing and glazing of class work is included in the session fee; pickup is scheduled two weeks after the class, once the pieces have cooled and been inspected.
Pieces are available for collection from the studio in Pretoria. For fragile items, I can arrange courier delivery with proper packing, but the cost is calculated per piece based on size and destination. International shipping is possible for smaller vessels, though customs handling and insurance are the buyer's responsibility.
Site-specific installations are developed in conversation with the venue and its history. I visit the location first, discuss structural constraints and access, and provide a written proposal before any work begins. Unfired clay elements are temporary by nature and will not survive outdoor weather; this is stated clearly in the proposal so there are no surprises later.
Straight answers about how the studio works, what to expect from a commission, and how to join a workshop. If something is not covered here, a quick call usually sorts it out.
We begin with a conversation about the piece you have in mind: size, function, and the kind of surface you are drawn to. I share reference images of past work and discuss clay bodies and firing methods. Once the details are agreed, I make a small maquette or sketch for approval. The making process takes two to four weeks depending on the piece, followed by drying, bisque firing, glazing, and the final firing. You receive progress photos along the way, and delivery or collection is arranged when the work is ready.
Yes, within reason. The palette is shaped by what the kiln does naturally, so I work with you to find a finish that fits your space rather than promising an exact Pantone match. Wood-fired pieces have a degree of unpredictability, which is part of their character. For tableware, I can adjust the glaze tone and thickness to suit your preference, but the final surface will always carry the marks of the firing process.
The beginner hand-building class runs over four sessions and covers pinching, coiling, and slab work. You leave with two or three finished pieces. The throwing course is a six-week program focused on centering, pulling walls, and trimming, with practice time between sessions. For those with some experience, I offer one-on-one sessions to refine specific skills like handle pulling or glaze application. Class sizes are kept small, so you get direct attention at the wheel.
I do, though these are fewer each year and usually booked well in advance. Past installations have responded to architectural spaces, garden settings, and sites with a particular history. The process starts with a site visit and a written proposal covering materials, structural considerations, and timeline. Because these projects involve larger quantities of clay and often custom firing schedules, the lead time is typically three to six months.
Most pieces are dishwasher safe, but hand washing is gentler on the surface and extends the life of the glaze. Avoid sudden temperature changes, like putting a cold plate into a hot oven. Wood-fired pieces with unglazed exteriors should be wiped rather than soaked. Each piece comes with a small care note that covers the specific clay and glaze used, so you know exactly what to do.
Yes, studio visits are welcome by appointment, usually on weekday afternoons. You can see works in progress, handle finished pieces, and get a feel for the materials. It is also a good time to discuss a commission in person. If you cannot visit, I am happy to arrange a video call and send detailed photographs of current work.
Beyond the pieces shown in the portfolio, the studio takes on a limited number of commissions and teaching slots each season. The list below covers the formats that come up most often, with enough detail to judge whether one fits what you have in mind.
A single vessel or a small series made to your brief. We start with a conversation about scale, surface, and where the piece will live. I work in stoneware and porcelain, and I will be honest about what each clay body can do before we commit.
Typical lead time is six to eight weeks, including drying and firing. You get progress photos at each stage, and the finished work is packed for collection or courier.
Functional pieces designed for daily use, not just display. This covers dinner sets, serving bowls, and mug runs for cafés that want something that does not look like every other supplier's range. I can match an existing glaze palette or start fresh.
Quantities are kept realistic for a one-person studio, so we agree on a per-piece rate and a schedule that works around kiln capacity. Dishwasher-safe options are available.
Small-group sessions in the Pretoria area, capped at six people so everyone gets table space and attention. You learn pinching, coiling, and slab work over two sessions, then return for a glazing day once the pieces are bisque-fired.
All materials and tools are provided. You leave with two or three finished pieces and a clearer sense of whether you want to keep going.
For architects, curators, and private clients thinking about a permanent or temporary ceramic element in a specific space. Past work has included a brick wall responding to a factory's history and a series of outdoor vessels for a garden courtyard.
Every installation starts with a site visit. I need to understand the light, the traffic, and the building's material language before proposing anything. From there, I handle the design, prototyping, and installation logistics.
A closer look at how the work gets made, from wedging clay to unload a wood-fired kiln. Studio visits suit small groups of collectors or students, and talks can be tailored to a theme like ash glazes or the rhythm of a firing season.
Visits run for about an hour and are scheduled around kiln days so you can see work in progress. Talks are available for galleries, schools, and community groups in the region.
A short email describing your project or question is usually enough to point you in the right direction. If you are local, we can also arrange a quick studio visit before you decide.