Every piece that leaves this studio follows the same quiet set of rules: a clay body chosen for how it behaves in the kiln, a firing cycle long enough to let the surface develop, and a form that has to work whether it sits on a shelf or in daily use. These are the principles I return to between projects, and the ones that shape how I teach beginners in the Pretoria workshops.
A decade of working with clay means the studio is not a one-person show. These are the people who shape the work, run the firings, and teach the workshops that happen in the Pretoria area.
Founder, ceramic artist
Trained in studio pottery and spent two years apprenticing with a wood-firing collective before starting an independent practice. Works primarily in stoneware and porcelain, with a focus on ash glazes and carved botanical surfaces. Leads the throwing and hand-building workshops.
Kiln manager, glaze technician
Responsible for all firing schedules and glaze mixing. Has a background in materials science and keeps detailed records of every kiln load, from oxidation to reduction. His notes on ash glaze recipes have become a reference for the studio's signature surfaces.
Studio assistant, workshop coordinator
Handles the day-to-day studio operations, from preparing clay to packing finished pieces for delivery. Coordinates the beginner hand-building classes and makes sure every participant leaves with a finished piece. Also assists with trimming and surface decoration on tableware orders.
Clay and wood ash are sourced from suppliers within a few hours of Pretoria. This keeps the work grounded in the region and reduces the environmental cost of shipping materials.
Every kiln load is logged with temperature curves, atmosphere notes, and placement diagrams. This allows the studio to reproduce successful surfaces and learn from failed ones.
Tableware is tested in daily use before it is offered for sale. Mugs are handled, bowls are stacked, and plates go through the dishwasher to confirm they hold up.
Li Jun Liang started as a single kiln in a backyard shed and grew into a practice built on patience, material honesty, and a stubborn belief that handmade objects carry meaning. The work is not about producing perfect replicas. It is about understanding what clay can do when you let it respond to fire, atmosphere, and the hand that shapes it.
Every piece begins with the clay body and the firing method. Ash glazes from local wood, high-iron stoneware, and translucent porcelain each demand their own approach. The form follows what the material can honestly carry, not the other way around.
A decade of kiln experiments means accepting failed batches, cracked rims, and unexpected surfaces. These outcomes shape the next round of work. The studio documents these attempts openly, so collectors and students see the real path behind each finished object.
Tableware is meant to be held, stacked, washed, and passed around a table. Sculptural vessels are meant to change a room's quiet corners. The goal is work that earns its place in daily life, not pieces that sit behind glass waiting for approval.
For collectors and interior designers, this means sourcing original pieces with documented clay bodies, firing temperatures, and the story behind each form. For workshop participants, it means learning hand-building techniques grounded in real studio practice, not generic demonstrations. The effect is simple: you know what you are getting, why it was made, and how to live with it.