What is so inspiring to me about Romy Northover's work is her highly organic aesthetic. Clay appears unglazed, and I love the variation between rough and smooth; it gives her work a certain beauty in rawness. Brushstrokes are not forced or restrained, but simply present, and I can't help but hope to let go in my own pieces when pondering her work. 

Romy Northover collaborates with Shino Takeda on their NYC based brand KATAKANA

OH, Oregon. Don’t you know I love you already?

OH, Oregon. Don’t you know I love you already?

I came upon an important discovery a few days ago— the work of Shino Takeda of Brooklyn. Shino’s work is a melding of Japanese heritage and NYC living. Her vessels maintain a beautiful traditional Japanese form and indulge in a bold, yet calming application of color glazing. I love the layers of glaze, paintbrush strokes, and delicate intricacies of each piece, especially the tiny spoons.

I have been happy to follow along with her work on Instagram.  

We make a vessel from a lump of clay; It is the empty space within the vessel that makes it useful; We make doors and windows for a room; But it is the empty spaces that make the room livable; Thus, while the tangible has advantages; It is the intangible that makes it useful.

—tao te ching

"Bowls are about giving and sharing. 

They are open and generous,

the most essential of pottery forms.

Jack Doherty

laughter so easily turns to hysteria for imaginative children. i felt for weeks after that i had been very, very sick, and until i completely recovered my strength i stood on laughter’s cliff and any funny thing could hurl me off to my death far below.

—maya angelou

Feathers filled the small room. Our laughter kept the feathers in the air. I thought about birds. Could they fly is there wasn’t someone, somewhere, laughing?

—jonathan safran foer