Why Every Mug Starts as 420 Grams of Clay
Every mug I make begins on the scale, not the wheel: what weighing clay to the gram settles before the wheel turns, where the 420 grams go, and when I ignore the number.
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In her own words
Notes from the studio: throwing and trimming, glazes and reduction firing, drying pots in the Galway damp, and how the work actually gets made.
Notes from the creator.
Prewritten for the creator: during setup we add their photos and change a few words together.
What Reduction Firing Actually Does to a Glaze
On firing days I starve a gas kiln of oxygen on purpose. What that does to iron and copper, why my celadon only exists because of it, and why no two firings match.
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Drying Pots in a City That Is Never Dry
Why a board of bowls can take a week to firm up in a Galway March, why slow drying is mostly kind to pots, and the plastic collars, damp cupboard and radiator that keep my handles on.
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Why I Built This Site, and Why It Is the Only One I Control
Why I finally made one place online that is really mine: the fake account that changed my mind, what lives here, and how I deal with copies of my work.
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What a Normal Week Actually Looks Like
Less glamour, more planning: the admin day, the long shooting days, editing, the inbox, and the boundaries I keep.
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The Accounts That Are Really Me, and the Ones That Are Not
Fake accounts copy my name, my photos and even my bio. How to check in ten seconds whether a profile or a message is really me.
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