AshStoneware · 14 cm · 450 ml
A deep everyday bowl in our wood-ash glaze, pale where it runs thin and grey where it pools. Thrown, trimmed and fired at 1,280 °C.
Ochre & Ash
Meera at the wheel, most mornings
AshDrag to spin the wheel
Every piece is fired in one of four glazes. Pick one to dip the pot on the wheel and see everything we have in it.
Twelve pieces from the latest kiln. Each one is thrown by hand, so sizes and glazes vary a little — that is the point.
AshStoneware · 14 cm · 450 ml
A deep everyday bowl in our wood-ash glaze, pale where it runs thin and grey where it pools. Thrown, trimmed and fired at 1,280 °C.
ShinoStoneware · 26 cm
A wide, low bowl for the middle of the table. A warm shino that breaks orange over the throwing lines, with a hand-painted leaf inside.
IronStoneware · 18 cm · 800 ml
Iron-rich tenmoku, black in the well and rust at the rim. Tall enough for broth, steady enough for a spoon.
CeladonPorcelain · 16 cm
A footed fruit bowl, brushed with leaves under a clear celadon. Lifted off the table so it catches the light.
AshStoneware · 350 ml
A thumb rest where your thumb goes and a handle pulled, not moulded. The first thing out of the cupboard.
ShinoSet of two · 250 ml
Two straight cups for tea or coffee, each a little different, in a soft white shino with an iron speckle.
ShinoRing form · 22 cm
A ring thrown in two halves and joined while soft. One stem, or nothing at all.
CeladonStoneware · 19 cm
A narrow neck for a single stem, in a celadon that deepens to sea blue where it pools at the shoulder.
IronStoneware · 19 cm
The same form in a copper red that only comes out of a reduction firing. No two are quite the same red.
AshStoneware · 27 cm
A flat, generous plate with a raw clay rim, so the glaze stops where your knife never goes.
ShinoStoneware · 24 cm
Glaze poured in one movement across the plate, so a brown river runs through the white.
IronStoneware · 900 ml
A teapot with a spout that pours clean and a lid that stays put. Thrown in four parts and assembled by hand.
Nothing in this glaze right now.
Scroll, and watch a lump of clay become the vase on the shelf.
The clay is kneaded until there is no air left in it, then slapped onto the centre of the wheel.
Wet hands centre it, open it and pull the walls up in three or four slow passes.
A day later, leather-hard, it goes back on the wheel upside down and the foot is carved out.
After a first firing it is dipped once, by hand, so the glaze runs thin on the edges and pools in the hollows.
Thirty hours in the kiln to 1,280 °C, a day to cool, and the door opens on something we never quite predicted.
The studio is open on Saturdays, or any day by appointment. Write to us for a commission, a set for a restaurant or a question about a piece.
We have received your order and emailed you a copy.