Fair questions, straight answers

Liquid clay — slip — is poured into a plaster mould. The plaster draws the water out and a wall of clay builds against it, and the rest of the slip goes back to the bucket. The piece comes out of the mould soft, and everything after that — trimming, carving, glazing — happens by hand at the bench.

The moulds give the starting form, and no two pieces finished here come out identical. Trimming, carving, and glazing are all hand work, and the glaze never lands the same way twice. The fingerprints stay.

The ornament designs come from Old Forge Creations, who publish 3D files for exactly this kind of piece, and we say so plainly. The plaster moulds are made here in the studio, and every finished ornament is developed here — the wings, the ears, the expressions are all bench work.

One person, many stages, and days between them. A cast piece is dried slowly, fired, glazed by hand, and fired again before it can be anyone's. What you are paying for is the time — and the fact that a person was here.

Wash them gently by hand, keep them away from sudden heat and cold, and give the glaze the same patience it was made with. Treat them the way you'd treat anything you plan to keep.

Whimsical slipcast pigs and other figures, Jesse's glazed Christmas ornaments, and ceramic planters that are still in development. The seasonal pieces are where the studio's traditions live — the ornaments come back to the bench every year.

Not online yet — nothing is for sale here at the moment. The site is the studio's front window, not a shop, and when sales open they will open here first. Until then you can ask when something is ready; Alesha and Jesse read everything that comes in.

A fingerprint, a glaze that ran, an ear nobody ordered — those are the evidence. A factory can make a flawless mug a million times over. It cannot make one that remembers a person.