Lexi Kanias of xOxO Pottery tells us about how travel, staying true to yourself and embracing expressing lead to her Mediterranean-inspired creations.

Tell us a bit about yourself.

I’ve always been involved in something arty. Art transcends so many different spheres in my life. I’ve always been creative, from a child I went to weekly canvas painting classes and weekly ceramic classes. My favourite pastime was always colouring in with those lovely thick, bright and bold pencils, or pastels. 

I’ve never been a watercolour kinda girl can you tell? Bear in mind my art teacher at school pulled me aside one day and said “you need to drop art, it’s not for you, you have no talent.”

Luckily I didn’t let that harsh criticism grow roots, however, sadly I did drop art as a subject. As a teenager/young adult, I delved into drama and acting ending up in Grahamstown performing for the arts festival. 

In my early 20’s I owned a Mediterranean restaurant for 4 years – I come from a cooking and baking background. I’m Greek we love to feed people. 

I then worked in real estate for 14 years which I loved, as well as in the venue/events industry. 

So whether it’s a canvas, a stage, a venue in need of decorating, a plate of food or a clay sculpture I’ve always had my finger close to my artistic flare and pulse. So looking back it was always on the cards. It was just a matter of time. 

How did you get involved in ceramics/pottery?

Having done ceramics/art throughout my childhood, it’s always been part of me. I joined a studio in 2013 attending a weekly class purely as a hobby initially. Little did I know by 2017 it would be my full-time way of life. 

 I finally allowed myself to answer a calling in my soul to do what I love all day every day. To accept and acknowledge my gifts and talent. 

I found myself walking my first Camino in Spain in 2016 which was an incredibly definitive life-changing 550km experience for me. I was at a crossroads within myself, those seem to be the best (hardest) moments for a change to occur. But the clarity was glaringly obvious. 

I was breaking down years of preconditioned behaviour of what I ‘should be doing’, what’s ‘acceptable’ and ‘what makes sense’. 

I had reached a point where none of that was going to fly by me anymore. I needed more. I needed to “officially” be creative all day every day. I have felt most alive ever since. It takes bravery to live a life you love unapologetically. To do work you care about, that brings you joy, that brings others joy and that pays the bills. 

What is your favourite thing about working with clay?

I love its unpredictability. I love the freedom I feel when creating. 

I love working with clay and I often go with the flow of how the clay falls and where it decides it would like to be placed. I don’t ‘overwork’ any of the pieces – I want you to see it’s handmade. I don’t overthink it, I like to just play and create and let each piece come to life on its own and believe me they do. Creating each piece is a process. All pieces go into the kiln twice and some a third time to achieve the desired finished look. I love how unpredictable it can be. How I think I’m in control as the creator but sometimes even though it’s hard to accept and very rarely happens my pieces go into the kiln and don’t come out as intended. The kiln gods every so often come down and let me know who’s boss. I’ve learnt to accept these moments and “roll” with them – pun intended. 

What does a day in the studio look like for you?

Somedays they flow with very little intentional effort on my part – I love those days I call them gift days. Me in my studio with my clay creating or glazing. Where time stands still and hours can go by and I’m completely unaware. Somedays it involves me wearing the very many ‘hats’ – being a solopreneur. I love those days too but they require less creativity and demand straight-up business managing and hustling. Managing my social media/online store accounts, packing pieces needing to be couriered, photographing new pieces needing to be uploaded to my store, checking my stock levels to ensure I have the items I need to produce, and the list goes on… It’s a mixed bag sometimes, but I love it. 

Where do you look for inspiration?

Inspiration is everywhere. It’s all about how aware I am. In my daily life, what I see, what I feel and what impact it has on me. Exposure to the world and nature is something I crave. I’m a go-with-your-intuition kind of person. Inspiration comes in so many ways and forms daily. Some are purely external but so many internal factors play a very big role too. 

It’s more about how receptive and open I am to acknowledging and ‘downloading’ it in whichever form it presents itself. My travels have been hugely influential in my designs and colour palettes. Walking two Caminos through Spain covering over 550kms through villages, vineyards and breathtaking nature. I visited South America in 2019 and walked part of the Inca trail to Machu Pichu which had a massive impact on me as well as my work. The colour tones of South America will never leave my soul. My Mediterranean and Greek heritage also comes through in many of my sculptures and ranges. 

Do you have a preferred method of creating?

The coiling method is most certainly the front runner. I’ve also recently started slabbing. I’ve never attempted the wheel, perhaps I will one day.  

How do you keep things fresh with so many potters and ceramists around?

I stay in my lane. I don’t look around too much and instead try to honour my creative voice and I only create and sculpt pieces that align with my creative aesthetic. 

I sculpt and mix my own glazes. 

I believe each bag of clay holds endless possibilities – it’s an ongoing internal creative adventure. 

Doing what inspires me daily motivates me & drives my brand to greater heights. 

I have a love affair with every bag of clay I open, with every piece I sculpt and with every bottle of glaze I mix. 

Each imprint matters. 

Each brush stroke matters.

Each piece contains part of my soul.

Each piece is made with my hands from start to finish. 

Any local creatives to keep on our radar?

Gosh, my list could go on and on so hard to only mention a few. 

Richard Bothma, Anina Deetlefs, Kim Black, and Solomon Omogboye. 

Tips and tricks for beginners?

Somewhere along the line these questions must be asked and answered:

• What is your voice? 
• How do you want to express it? 
• What do you stand for? 
• What is your point of difference? 

My advice is, Do what you love, access the desire and passion from within you and share it. It’ll be your greatest love affair. 

Looking for more local art? Sign up to our weekly newsletter, here.

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Joburg-based ceramist and fine artist Mich Mellow of Ok Now Studio chats to VISI about the intricacies of working with clay and where she gains inspiration for her creative pieces.

Mich Mellow studied Fine and applied arts at The Tshwane University of Technology in Pretoria specialising in sculpture and ceramics.

How did your journey with clay/ceramics start?

I fell in love with the versatility of clay as a student and was fascinated by how much is possible within in the medium. I was prolific as a student and made many pieces, some more successful than others. I often stayed in the studio late at night and on weekends because I was obsessed with an idea or a piece that I just had to make.

What do you love about the medium and what frustrates you?

Working with clay is very freeing, you can make just about any form with it and because of this, I decided that I want to learn as much about it as possible. This has come with many trials and errors but I’m always happy with the learning experience. I purposefully take on difficult projects as challenges to myself, which always seem like a good idea before and after the projects, but causes some frustration during the execution. I’ve learned that frustration is where innovation comes from, and so I am trying to embrace it. 

I also love that I can decide to change direction at any point and create different forms and works and I am not restricted because of all the knowledge I’ve gained through the years.

Typical studio day?

I arrive at the studio, put on some music, dance and sing while I clean. I then work on some commission work and get to my own exploration of the medium later in the day. I love to play around and I often make many things that I don’t share with anyone as they are just my own processes and creations.

How do you keep things fresh with pottery growing as a trend?

Pottery is always trending, and I think we’re just more aware of it now as it is such an accessible medium and it’s easy to make a quick video to share with others. I also offer classes and workshops in Johannesburg and Cape Town and I love teaching, I’m always learning from my students and the more it trends the more fresh ideas come through the studios that I work in. I really enjoy seeing what my students make and what draws them to the medium.

Where do you look for ideas/inspirations?

I get inspiration from all over. My students, fellow ceramists and the many excellent mentors I’ve had over the years. I enjoy bringing humour and colour into my work and I’m often inspired by artists who do the same. I also find inspiration in the cities where I’ve lived. Some ideas come to me when I’m about to fall asleep and I write those down quickly. Because of this, I have many notes and notebooks with ideas that I’m just waiting to take on.

I’m currently looking to open up my own studio in Johannesburg for teaching, making and collaborating with artists and I’m hoping to then be able to make all the things I’ve imagined and scribbled down late at night.

Looking for more local art? Sign up to our weekly newsletter, here, or take a look at this list of local exhibitions to see in 2022.

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Local potter and creative Bianca Bernstein talks to VISI about working with a wheel, her journey with clay, tips and tricks for beginner potters and life in her studio.

Tell us a bit about your background?

Born in the ’80s. Grew up in the ’90s (and still recovering from that). I’m a mostly self-taught potter, working primarily on the wheel to make small-batch and one-off craft pots, as well as large production orders for restaurants from time to time. 

I live and make pots in the Southern Suburbs of Cape Town, with my long-suffering pottery husband, our Great Dane, and 3 cats. When I’m not making pots, I’m reading or trying to figure out ways to include pasta in every meal. My favourite colour is brown. 

How did you get involved in pottery?

I’d been working as an advertising copywriter for about 14 years, and I was tired of trying to create things with small budgets, unreasonable deadlines, and tons of brand baggage attached. I needed to go somewhere where I could make mistakes freely and with no consequence, and perhaps see those mistakes develop into something rewarding. An amazing illustrator I know was posting these great little clay creatures that she’d been making at a local studio, so I asked her for the studio’s details. I got in touch with the studio and went to my first lesson. I sat with a lump of clay, trying to pinch a pot, thinking “This really isn’t doing it for me”, until some moments later, I spied a pottery wheel in the far corner. Not a single person was sitting there, and that’s where I wanted to go. I bundled some balls of clay together and started learning how to centre them. The first pots I threw looked like blobs, and I later glazed them accordingly in a fabulous 1970’s brown (origin unknown). I cried a bit in the car on the way home from that first class. I knew that something had changed for me. Cut to a month later – I’d stashed a second-hand wheel in my poorly-lit basement and was obsessively throwing pots every night and every weekend. Cut to 2021 – I’m having a gas kiln installed to start a reduction-firing journey and all of my nice clothes have been ruined (blessed) by clay.

What are your favourite things about working with clay?

Other than the fact that clay just feels like home to me, it also has a way of teaching me to live with uncertainty and acceptance. So much can go wrong before a pot is out of the kiln and in use, that I always feel a low-key acceptance that it might not make it. And plenty of the pots don’t. You learn to accept failures in clay with more ease than you would other things in life and start seeing these failures as lessons and opportunities. 

What does a day in the studio look like for you?

I have a terrible habit of visiting the studio as soon as I wake up (quite early), and so I end up doing things in my pajamas before I snap out of it and go get properly dressed for the tasks ahead. I’ll start the day by ‘visiting’ the pots that are in their various stages of making, and see which pot needs what from me that day. Some will need to be turned (trimmed), and others moved along to a different part of the studio for drying etc. I then consult my work list, which tells me whether or not I have commissions to throw that day, or whether I can focus on making pots that I choose to make. On a very lucky day, I’ll get to do a few wild experiments. I’ll take breaks and walk around in the garden during the day, thinking about my pots and how I’m tackling them. If it’s raining I’ll take tea breaks on the stoep for morale. What’s important to note is that not all days look the same. In fact, very few do. This is because working on the wheel is just a small part of the efforts that go into making pots. There’s so much peripheral work, like recycling clay, putting up extra shelves, or sanding down kiln props, or creating new glazes, or caring for students’ work so that it’s ready for their next lesson. I’ve been working on having more disciplined ‘making cycles’, where my output is wheel-focused, and then allotting other times for supporting tasks and prepping for students and studio upkeep etc. 

Where do you look for inspiration?

This is an ever-changing search and can be very rewarding. 

I tend to look to a few things for inspiration. 

1. The materials in my studio: what have I got on hand and what can I do with it? What am I lacking and what can I replace it with? 

2. Materials in general: I read up a lot about the different materials used in making clay bodies and glazes and how they behave in heat environments. This technical reading can absolutely inform ideas or directions, and it’s very exciting when it happens. 

3. Practical influences: there are potters out there who do certain things very well – and that drives me to improve my level of craft. For example, when I see a brilliant potter’s hands deftly pulling and attaching a handle with a certain level of confidence, it reminds me that I have a long way to go to get there, and it actually really gets me going. Some potters that influence my practical decisions are Lisa Hammond, the late Michael Cardew, and South African potter Richard Pullen. 

4. Philosophical influences: This is a much more emotional space for me because being a potter is not a career choice – it’s a life choice. When you choose to give your life over to making pots, you have to go all-in if you hope to make anything of significance. For a greater understanding of what this means (because this understanding is ever-growing), I look to the late Karen Karnes, the late Shoji Hamada, and American potter Adam Field. Their personal philosophies of what life in pots means and can be are evident in the way they lived and live. There’s no separation of work and home. The work is home. The work is never finished. And that brings me great comfort and renewed energy when I need it. 

How do you keep things fresh with so many potters around?

I do believe that there is a collective consciousness when it comes to creativity. And this can lead to trends in pottery, which can influence potters to make pots that look like a lot of other pots out there. You see similar behaviours in decor and fashion and food. What helps me to stay on my own path is not to look around too much and to trust in my own ideas. This doesn’t mean to say I don’t interrogate certain ideas I come up with quite harshly – some things stay hidden in the notebooks. haha. The thing is, no two potters are alike, for a million reasons – ideals, response to colour, processing information, daily environments, persistence levels etc. – and that’s something I like to spend time thinking about. 

Do you have a preferred method of creating?

My only preferred method of creating is to create. To work. I have found that buckling down to do mundane studio tasks can sometimes spark an idea or two. 

Any local creators to keep on our radar?

There are some really excellent working potters in South Africa. Ckho Mququ and Alila Hofmeyr are definitely two potters to watch – each with a truly unique style and approach to making functional, well-crafted pots. I am often impressed by Ckho’s precision and unique ideas (especially when it comes to surface decoration) and am equally impressed with Alila’s abilities. She’s moving successfully into creating beautiful porcelain lighting works and fixtures – which is no easy task! 

Any tips and tricks for beginners?

The only tip I really have is: be persistent. Be persistent in finding a relationship with clay. Be persistent in asking questions. Ask a lot of questions. Oh, and keep a notebook. ALWAYS KEEP A NOTEBOOK! You’ll find that the more you know about pots, the less you know. And there’s just too much information to rely purely on memory for. 

Tell us about your classes?

I teach beginners’ wheel-throwing classes at my studio in Wynberg, Cape Town on Fridays and Saturdays. The studio is small, so I get to give a lot of attention to each student, which I really like. Teaching is a humbling experience, especially when I realise that I’m passing something on that was passed on to me. It feels like the world’s greatest heirloom. 

Follow Mudlife Pottery on Instagram or visit the website, here.

Looking for more on art? Take a look at the work of Stephané Conradie.

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Ceramic artist Zizipho Poswa’s latest range of vessels celebrates and honours the strength of women in Xhosa culture.

Widely recognised as co-founder, together with Andile Dyalvane, of celebrated ceramic design brand Imiso Ceramics, Zizipho’s latest pieces draw inspiration from tradition and daily rituals that she witnessed as a young girl growing up in the Eastern Cape.

Magodi – Noxolo

Her first full series, Umthwalo, with gallery Southern Guild draws from a practice of women carrying heavy stacks of wood, parcels or water on their heads. Magodi is her latest collection, a series of hand-coiled pieces that celebrate traditional African hairstyles. Each piece is named after a family member or close friend. Noxolo (named after her aunt), Nozibhedlele (named after her mother) and Amanda (named after her cousin) are Zizipho’s largest pieces to date and each took up to two months to complete.

See more at southernguild.co.za.

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Born in Spain, Farah Hernandez started her pottery journey after moving to South Africa in 2004. Here, VISI chats to her about her influences, processes and future plans.

Tell us a bit about how you started in ceramics? 

I just love getting my hands dirty! It started as a hobby, then I got my own kiln to do it from home. I had to start selling – because there are only so many birthdays you can go to with one of your pots. Shortly after, I got selected as one of the Emerging Creatives for Design Indaba and that pushed it into becoming my full-time job. In 2015, I had to leave the country for three years but after coming back doing ceramics was the only thing that made sense to me. 

Do you have any South African or Spanish influences that show in your work? 

I’m not sure! But there probably are: the white and blue is typical of the traditional pottery from the south of Spain where I come from, but then again, I have lived most of my life in SA. There are definitely some African influences in the shapes and geometric patterns, but maybe that’s for the viewer to decide…

Do you think you’ll venture away from the traditional blue and white?

Yes, but it will probably always be there as it has become a kind of signature and I feel very comfortable with the technique. I am already (slowly) introducing other clays and other glazing and decorating techniques. I’ve also been steering away from colour completely and leaving the pieces nude to focus on the shape. 

What processes do you follow when creating a piece? 

It’s a long process of patience and love. First comes the wedging of the clay, before I roll them into thin slabs. Then comes the measuring and cutting of the different parts; carefully attaching them (some pieces have about 12 paper-thin pieces that make the puzzle); monitoring the drying process; sanding; painting; firing; glazing; and firing again. From start to finish, with all the drying processes in between, it takes about two weeks to create a finished piece. 

How would you describe your style?

Hmmm… I’m not sure! There has also been quite a big change in style since I got back but I honestly just don’t think too much about it. Suggestions welcome.

Do you have a favourite thing to create?

Yes, I’m loving making these new vases with different parts. The process is fun (having a big slab of clay and cutting and attaching pieces until the final shape comes) and there is often very little planning beforehand. I love working on more sculptural pieces with other clays, but those I have only been making for myself so far.

Oh!… and the boobs, I love the sculpting of different sizes and shapes. It has been quite a journey.

Are there any local ceramicists that inspire you?

Yes! There are so many amazing ceramicists in South Africa. Some of my favourites are Katherine Glenday, David Walters, Ralph Johnson, Clementina van der Walt and John Bauer, to name a few – I’m sure I’m forgetting lots of names.

Future plans?

I would love to work on more collaborations and focus a little more on once-off collections of bigger work. But definitely, obviously, just carry on making.

For more information, visit farahhernandez.co.za and follow Farah on Instagram.

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North West- and Gauteng-based ceramic artist Karabo Seleke, one of Design Indaba’s 50 Emerging Creatives for 2019, creates ceramics influenced by his background, surroundings and nature.

Using bold colours and patterns, he fuses contemporary and traditional elements in his creations.

Karabo, a 2018 Fine Art graduate at the Tshwane University of Technology, gives Tswana names to his pieces based on the specific shapes each piece takes.

Thotse

He also believes that sharing knowledge is a vital part of growing the art community.

“To me a great artist or designer is 120% dedication, hard work, participating in art functions, competitions and teaching other artists and the community what you have learned by sharing your art knowledge with them,” he says.

Sebokolodi

Follow @k.ceramic on Instagram.

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South African ceramicist and stylist Alexia Klompje of Klomp Ceramics has released a new series of one-of-a-kind bowls made from clay leftovers.

The Play Bowls collection is made up of 10 hand-crafted bowls glazed in subtle shades of blue with accents of gold and raw textural elements.

The bowls are inspired by the idea of playfulness.

“Even though I do what I love each day (and it’s creative),  I still get caught up in the practicalities of it all, the realities of running a business and just getting things done,” says Alexia. “Most often I feel like I’m just rushing from one task to another, without taking a moment to just be and create in a calm and playful manner. The Play Bowls are part of a project I’m working on. A conscious slowing down, taking the time for myself, to play.”

To shop online, visit klompceramics.com.

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The fun designs created by Cape Town-based ceramicist Lesley Tuchten, whose work we spotted at the recent Homemakers Expo,  feature a range of sculpted animals, from dogs and rabbits to goldfish and whales.

While Lesley took a pottery class on the side when completing her Masters in 2005, her actual journey into the world of ceramics was inspired by a sculpture she created of a rabbit five years ago. “I found that sculpting the face was weirdly addictive,” she says.  “Since then it slowly snowballed into the animal sculptures in the ring bowls and animal planters. Also, I’m obsessed with not only my pets but everybody else’s, so I guess this was inevitable.”

For Lesley, creating something from scratch is extremely satisfying. “Everyone has the urge, for cooking, knitting, gardening, DIY; everyone has a maker in them,” she says. The technical process involved in making ceramics is also something she enjoys. “Each piece of clay is a problem waiting to be solved by maths and chemistry. It feels good to solve the problem.”

Here are 10 of VISI’s favorites:

To see more of Lesley’s work, follow her on Instagram.

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We chat to Natasha Viljoen, founder of Cape Town pottery studio Clay Hands, about her new space, inspirations and working with clay.

Tell us about the history of Clay Hands.

I grew up thinking it was normal to have a pottery studio in your home, and maybe because I thought this was so normal it never even crossed my mind that it would be a path I’d follow as a career. Sometimes the best things are right there in front of you.

My grandmother, Valerie Claassens, was a potter and teacher in Pretoria. And then my mother, Lissa Claassens, became a studio potter in her 20s and also a pottery teacher in her home studio, Earth Play Studio. I was one of her first students at the age of four. So I grew up in and around pottery studios.

I’m trained as a graphic designer and worked freelance before the whole Clay Hands thing emerged, kind of by accident. Odon (my partner) and I started going to weekly classes at my mom’s studio in Hout Bay in 2014. Soon friends became interested in the craft too and wanted to join but my mom’s evening classes were full. So we opened a “chill” class for friends at her studio. It was a lot of fun and two years down the line I have stopped doing graphic design professionally and opened the Clay Hands studio in April 2018, where I now happily spend my time and teach four times a week.

How did you get into clay?

I’m still getting into clay. It’s a life-long journey. There is so much to explore and experiment with clay. From the harvesting of one’s own clay and playing alchemist mixing glazes to different types of firing (gas, wood, electric or alternative firings) and exploring shapes, forms, textures and colours. I honestly think I could spend my life “getting into clay” and still not be bored. But I think it was the return to those evening pottery classes in my early 20s that got me hooked. The time in the classes felt like a meditation, a time truly for me, and a place to really be creative (instead of moving pixels around a screen).

Who do you look to locally for inspiration?

Locally, my inspiration very much comes from my day-to-day living and people I cross paths with, from students to friends. My mom is obviously a huge source of inspiration. She makes incredible sculptural pieces. I admire the technical skills and knowledge that goes into her work.

Ckho Mququ and Unathi Peter are two very talented up-and-coming ceramic artists working from the incubation ecosystem of Macassar Pottery. I learn a lot from seeing their processes unfold on a weekly basis when I go there to give classes.

Alila Hofmeyr, who was in those first pottery classes as a child with me, is now also a potter and a huge inspiration. It’s great to have a friend to bounce ideas with and share the journey of becoming.

Tell us about your new studio.

The decision to move into 196 Victoria came quite suddenly while I was attending an astrology class run by Orietta, the owner/visionary of the building, so we only had a month to get everything sorted and set up. It was a lot, but really amazing to work in a team with my family. 196 Victoria is a holistic healing and creative centre in Woodstock. I’m so lucky to have found a spot that is central and easy to access with public transport and yet tucked away in the sanctuary of a leafy courtyard. I feel like I’m living in a fairytale in this fantastic building. You can’t miss it: it’s bright yellow on the main road, and yet most people don’t see it.  I share the studio space with @alexkatamarang, who makes beautiful custom bags.

Give us some insight into your studio’s decor style?

Although we’re in the business of making “things” (although mindfully) I very much believe there are already too many “things” in the world, so I try source anything I need for the studio from second-hand shops, through upcycling, repurposing or by making it myself. The beautiful shelves in the studio were made and designed by my dad from old solar panel crates and palettes (he’s a renewable energy engineer). We built all the shelves out of those and they look super!

What pottery styles / techniques do you see being used most frequently?

About a year ago there was a big trend towards white homeware, which I’m really glad we’ve moved beyond. People are being more experimental and playful at the moment. There’s a lot of carving textures, whimsical patterns and layered glazes going on. I love that more and more people are wanting to dedicate time to experiment with various surface design techniques and also building techniques, like learning to throw on the wheel or mastering a skill like coiling.

Tell us about your classes and workshops.

At the moment I facilitate weekly classes on a Monday, Wednesday and Thursday evening from 7pm until 9:30pm and the terms run more-or-less with school term times on cycles of about 10 weeks.

With these, it’s been an honour to see the growth in the participants, which comes with their commitment to weekly practice, as well as the connections that form through the space. Clay is something that really requires us to slow down and practice patience. It teaches us to embrace mistakes and find acceptance.

For commitment phobes (jokes!) and people who just want to come try out some claying, I offer one-off Saturday morning or Tuesday evening workshops every month. And every first Tuesday of the month Yanna Romano (Emerge) and I offer  “Listening In” – a movement meditation and mindful clay event with live music and minimal words.

Interested in joining a class? Visit the Clay Hands website for more information or follow the studio on Facebook.

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Animation student Romane Granger has designed a series of captivating videos that embody the tiny details associated with ocean life.

A student at L’École Nationale Supérieure Des Arts Décoratifs in Paris, Romane has used intricately modelled clay to depict the complex ecosystem that thrives in the ocean. Visible in the videos are human figures, waves and floral designs.

The videos were created for musician Stevanna Jackson, aka Billie Bodega, who is the niece of Michael Jackson and Janet Jackson

To view more of Romane’s work, follow her on Instagram.

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