Interview: A Potter on Throwing Functional Pots
A useful pot earns its place through touch: the weight of a mug, the balance of a pouring bowl, the way a plate settles beside a cup. For ceramicist Mara Bell, function is not an afterthought added after decoration; it is the first decision made at the wheel.
From her studio in Marrickville, Sydney, Bell spoke about designing pots for Australian rhythms, from long-black coffee before work to shared dinners on a balcony. She also explains why a confident silhouette can still fail, how useful objects earn their price, and why workshops matter as much as finished sales.
The Form Begins with the Hand
When Bell accepts a commission, she begins with questions rather than sketches. Will the piece be lifted with one hand? Does it need to pour without dripping? Will it sit beside a bed, fit a small apartment shelf, or travel to a communal dinner?
“If a handle looks graceful but leaves a hot ridge under the thumb, it is not finished,” she says. Each handle is pulled, attached and refined by hand, even when the main body was thrown quickly.
The proportions change according to use. A breakfast bowl is broad and shallow, while a pouring bowl needs a lip that directs liquid cleanly. Bell trims the foot last, making sure the finished pot rests steadily on a dining table without scratching it.
Australian habits shape the brief. Bell’s wide mug is built for a long black with a splash of milk, while her shallow bowl handles brekkie fruit or a quick serve of soup. “The pot has to work in an Australian kitchen,” she says, including the dishwasher, crowded bench space and a habit of carrying drinks from the lounge to the balcony.
Throwing Is Only the Middle
Bell throws with a mix of speed and deliberate pauses. Centring the clay settles her breathing; opening the form requires firm, even pressure. A good wall develops quickly, but Bell often stops before the shape becomes overly thin.
Trimming reveals whether the pot will work. Too much weight in the base makes it tiring to hold, while a thin foot can feel unstable. “A beautiful cylinder can still be a terrible mug,” she explains. The useful details are often too subtle to notice in a photograph.
Clay selection and glaze firing determine how the piece behaves over time. Bell uses tested stoneware bodies for cups and serving vessels, with different clay for larger forms that may need greater strength. She keeps test tiles from every firing, recording shrinkage, colour and how the glaze feels in the hand.
Every batch creates another variable. A popular glaze can shift slightly because of a new clay supplier or a different kiln atmosphere. For Bell, consistency comes from careful records rather than assuming yesterday’s result will repeat tomorrow.
Designing for Australian Homes and Gatherings
A functional range must balance daily usefulness with the visual language of Australian design markets. Buyers often appreciate simple silhouettes, honest materials and colours that sit comfortably beside timber, linen and muted indoor-outdoor spaces.
| Everyday use | Suitable form | Practical test | Likely buyer |
|---|---|---|---|
| Coffee or tea | Wide mug with a full handle | Comfortable grip and stable base | Homeware buyers |
| Shared meals | Nesting bowls and serving plates | Stackability and easy cleaning | Cafes and households |
| Outdoor dining | Tall tumbler or side plate | Grip and resistance to spills | Summer market shoppers |
| Small gift | Bud vase or dipper | Light weight and durable finish | Gallery visitors |
Pricing depends on labour as much as materials. Clay and glaze are only part of the cost; throwing, trimming, handles, firing, photography, packaging and freight all matter. Bell uses a simple formula based on time and repeatability, then checks it against prices at design markets in Sydney and Melbourne.
The climate also affects design. Strong sunlight rewards saturated glazes, while coastal humidity makes removable labels and robust finishes valuable. Across Australia, buyers increasingly expect dishwasher-safe pieces, clear care information and packaging that can survive the trip home.
Building a Sustainable Small Practice
Running a pottery business means managing two production systems: the wheel and the business behind it. Bell tracks studio time separately from admin, sets aside funds for kiln repairs and avoids discounting work simply because a market stall is approaching.
Support from Smart and Becker Creative through its workshops and exhibitions has helped her approach creative work as a connected practice. Consultations, brand coaching and business incubation can give makers a clearer path from a promising prototype to a product line that can be produced consistently.
Australia’s geography adds another layer. Freight from Sydney to Melbourne, Adelaide or Perth can consume a thin margin, so Bell offers tracked shipping, studio pickup where possible and wholesale terms that account for packaging. Pricing in Australian dollars and accounting for GST also requires honest, transparent communication with stockists.
Share a Wheel and Shape a New Ritual
One atypical commission came from a paintball venue rethinking its shift from rental gear to owned equipment. Bell read the operators’ gear upgrade guide as part of the brief, then translated the same long-term thinking into hard-wearing vessels for its members’ lounge.
Her experience reinforces the value of gathering people around making. A wheel demonstration creates conversation without requiring expertise, while a workshop allows participants to feel the material’s resistance and discover their own preferences. “People arrive curious and leave with a sense of competence,” Bell says.
The next maker session at Smart and Becker Creative offers a practical place to begin. Book a workshop, arrange a private studio appointment or join a future showcase where functional pottery can be handled, tested and discussed over a cup. Arrive ready to make something useful, and leave with a form that carries the mark of your own hands.