The Potter's Wheel: Mastering Form and Clay
I’ve always felt that the wheel is where the conversation with clay truly begins. It’s a practice of patience, centering, and finding form in the chaos of a spinning lump.
This is a look at the process of throwing a vase with a long neck. It requires a technique called collaring, where I gently gather the clay to narrow the form, a skill that takes much practice to master.
I'm currently getting comfortable with throwing large forms from a single lump of clay. This video shows the process of throwing a tall Neriage vase, which demands patience, focus, and a strong understanding of the clay.
This video shows the process of section-throwing, a technique used to create forms taller than what can be thrown from a single piece of clay. Each section is thrown separately and then joined together.
Making a salad bowl for a custom order. The process starts with centering 1400 grams of clay and then opening it up. I pay close attention to compressing the base to prevent cracks and ensure a flat, stable form.
Trimming a salad bowl at the leather-hard stage. This is one of the most satisfying parts of the process, where the final shape is refined and the foot is carved. The continuous ribbons of clay are a sign of perfect timing.
I was challenged to make organically shaped plates for a client. After a few failed attempts with slabs, I pivoted to this successful method of throwing the plates on the wheel and then manipulating the shape by hand.
Come trim a 10-inch dinner plate with me. These large forms require removing over a kilo of clay to arrive at the final shape. Having sharp trimming tools is essential for a clean, efficient process.
I enjoy making big bowls. This video shows the process of trimming a large serving bowl, refining the foot and smoothing the surface. It's a calm, focused part of the pottery journey.
Pushing my limits with the weight of clay I can throw efficiently. While there are other techniques, throwing from a single lump demands a lot of patience and a nuanced understanding of how to pull the walls without applying too much force.
About The Potter's Wheel: From Lump to Form
People often think wheel-throwing is purely therapeutic, but the reality involves a lot of physical focus and precise timing. For instance, I only trim my bowls and plates at the 'leather-hard' stage—that specific consistency where the clay isn't wet, but not yet bone-dry. If I miss that window and the clay gets too dry, it becomes brittle, and if I try to rush it while it's too wet, the piece loses its shape. This is why you'll never see me mass-producing; I need to be present for every single rotation.
When you watch the wheel spin, it looks effortless, but years of practice have taught me that mastering the wheel is about understanding the clay's limits. Whether I’m collaring a long-neck vase or section-throwing a large vessel, the process is a dance of timing.
My studio in Indiranagar is where this all happens. I primarily work with high-fire stoneware because of its durability and how well it takes the glazes I experiment with. When I am throwing, I am constantly checking the moisture content and the integrity of the walls. Creating a 10-inch plate isn't just about shaping it; it's about removing over a kilo of excess clay during the trimming stage to ensure the final product is balanced, lightweight, and won't warp in the kiln.
Everything I make is 100% food-safe, microwaveable, and dishwasher-safe, though I always recommend hand-washing my wood-fired or textured pieces to preserve their unique character. I believe that functional art—a bowl you eat your morning salad from or a mug you hold during your evening chai—should carry the story of how it was made. If you are looking for ceramics that have actual weight, intentional asymmetry, and a bit of soul, you are in the right place.
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