The Maker
She is a potter based in London, specialising in functional pottery — mugs, bowls, plates, vases, and planters — shaped by both wheel-throwing and handbuilding. Her practice centres on the belief that everyday objects deserve thoughtful design: plants and flowers flourish best in a considered home, and food takes on new character when served in something made by hand. This conviction guides her choice of form, glaze, and finish, ensuring each piece is as functional as it is considered.
She has been making for more than five years, shares her work as Ceramics by Kimmy, takes orders and commissions, and teaches private students one-to-one and in small groups.
Finished pieces and the stages in between. Select any image to see it larger.
Vases and planters, mostly thrown on the wheel. Donut vases, layered reactive glazes, and forms that look best holding a single stem.
“Not every flower wants a whole bouquet, some just want a ring and a little water.”From @kimmy.ceramics
In motion
Bowls, plates and mugs for everyday cooking. I like cooking and I like good plating, even at home, so these are made to be used, washed and used again.
In motion
Surface work: underglaze illustration, sgraffito and carving. I usually sketch first, often something from the sea, then draw it onto the clay.
Pinch, coil and slab. Handbuilding lets me make shapes the wheel can’t: a woven basket, a chip and dip bowl, a tray made to hold eggs.
In motion
How a carved piece is built up, from bare clay to drawn surface.
Flowers deserve a beautiful home, and a homemade meal deserves a handmade dish.
Most of my work starts with the sea: deep water, foam on the sand, the way a wave folds over. Blue runs through almost everything I make, and every piece is meant to be used, holding flowers, plants and home-cooked meals.
At home, I like cooking and good plating, even for an ordinary dinner, and I always keep a little bouquet of whatever flowers are in season. That is where my pieces end up: on the table and on the windowsill. So I make them to be used every day, not kept on a shelf.
I try not to get attached to any one piece. Things crack and glazes run, and each failure teaches me something for the next firing. I also try not to make the same thing twice, so the work keeps moving.
I enjoy the technical side of clay as much as the making: testing glazes, loading a kiln well, and working out why a plate cracks or warps. I share tips and techniques online, like the glazing tip in my Mid-Autumn plate video below.
Alongside clay, I have eight years of experience in programme and project management, which helps with planning sessions, organising a studio and working with people.
A short demonstration from my Instagram:
Painting fine details on the Mid-Autumn plate, with a practical tip along the way.
Plays without sound. Use the speaker button to turn it on.
Underglaze painting
Growing up, Mid-Autumn festival meant lanterns, mooncakes and family time. So this plate needed two bunnies, gazing at each other and never alone.
Glazing tip from the video
Skip the applicator and the underglaze pencil. A silicone shaping tool does the fine details just as neatly, and it wipes clean in seconds.
Process
Throwing is the core of my practice: tall necks, wide rims, closed rings and round jars.
Every piece starts as clay centred on the wheel. These are straight off the wheel, before trimming and firing.
Skills
Teaching
I teach private students one-to-one and in small groups, and I would like to teach more, in studio classes and workshops.
Clay collapses and glazes run. I help students stay relaxed about any one pot, so they keep practising.
A crack or a warp is a lesson. We look at why it happened, from compression and drying to how the kiln was loaded, and change one thing next time.
For example: for fine glaze details, a silicone shaping tool works as neatly as an applicator and wipes clean in seconds. See it in the Mid-Autumn plate video.
I avoid repeating myself, and I encourage students to try a new form or surface rather than remaking the last one.
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