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Céramique Exemple
A potter’s hands raising a stoneware bowl on the wheel, in daylight.

Thrown stoneware, for the everyday table

I throw bowls, plates and a few vases in my small workshop. Each piece comes out of the kiln with its irregularities: that is what makes it pleasant to use.

See the pieces Discover the workshop

A few pieces from the workshop

Scroll to browse them. Each piece has its own page, with its dimensions and care advice.

A small stoneware bowl with a speckled sand-coloured glaze, on a light background.

Morning bowl

A wide, shallow bowl, designed for milky coffee, cereal or a piece of fruit on the table.
See the piece
A deep bowl with a grey-blue glaze, its foot left as bare stoneware.

Soup bowl

A deep bowl with straight walls, which keeps the heat and sits well in the hand.
See the piece
A soup plate with an off-white glaze and a slightly raised rim.

Soup plate

A plate with a deep base and a narrow rim, made for pasta, risottos and dishes with sauce.
See the piece
A flat plate with a sand-coloured glaze and a darker clay rim, seen from above.

Flat plate

A flat plate with a slightly raised edge, for bread, starters or the main course.
See the piece
A slender bottle vase with a matt clay-coloured glaze.

Bottle vase

A slender vase with a narrow neck, which holds a single branch or a few stems.
See the piece
A ball vase with a pale celadon glaze.

Ball vase

A round vase with a wide opening, which takes a full bouquet or stands alone like an object.
See the piece

From a block of clay to a fired piece

I do everything myself, in the same order, so that every piece is followed from start to finish.

Freshly thrown bowls drying in a row on a board, on the workshop bench.

  1. Preparing the clay

    I weigh the block of stoneware, then knead it by hand to drive out the air and make the clay even. Well-prepared clay holds better on the wheel.

  2. Throwing

    The clay is centred on the wheel, opened, then raised into shape. This is the stage where the profile is born, along with the thickness of the walls and the slight irregularity that stops the pieces from looking alike.

  3. Drying and trimming

    The pieces dry slowly, away from draughts. When the clay has firmed up just right, I trim the foot: I cut it free on the wheel with a tool, to refine the shape.

  4. First firing

    The dry pieces go through the kiln a first time. This firing makes them solid and ready to take the glaze, but still porous.

  5. Glazing

    I dip or pour the glaze by hand, piece by piece, and wipe the foot so it does not stick in the kiln. The thickness of the layer changes the final colour.

  6. Second firing

    A last firing, at high temperature, melts the glaze and turns the stoneware into a dense material. I open the kiln once it has cooled, and I check every piece.

The materials I use

Few ingredients, chosen for how they hold up and for their colour.

StonewareGlazeSlipIron oxideCobaltGrog

In the workshop

Click on a picture to open it large.

Buckets of glaze and a row of glazed test tiles on the workbench.
The open kiln, its shelves loaded with glazed bowls.
The potter’s tools lined up on a linen cloth: wooden ribs, metal scrapers, a sponge and a cutting wire.

Do you like a piece, or have a question?

Write to me: I will tell you what is available, how to choose and how to come to the workshop.

Contact me