In the studio with Joshua Lowe Ceramics
One of our guiding principles is to seek out designs that feel unique and creatively authentic to the maker — Joshua Lowe's pieces are exactly that. What excites us most about Josh's work is his individual approach to both form and finish. New Zealand born and living in East London, we chat to Josh and learn more about how arrives at his one-of-a-kind designs.
Let's talk things!
Can you introduce yourself and tell us a bit about you and where you are from?
Hello! I'm Joshua, a ceramicist living and working in East London. I grew up in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) and moved to London about two years ago. I've been working with clay for about four years now, but only since moving to London has it evolved into something beyond just a hobby.
So how did you get into ceramics? And where did you learn and hone your skills?
It was always something I was interested in, but I put it off for so long since I had no idea where to even begin - it’s one of those things that just seems so inaccessible. I heard through a friend about this place called the Wellington Potters Association - a local community studio in Pōneke (Wellington) that ran your usual throwing and hand-building courses but also offered an unbelievably cheap membership that included 24/7, complete use of the studio space and all equipment, which looking back on I definitely took for granted. I signed up for an eight-week throwing course that ended up being cut short due to covid lockdowns, so I never actually saw any finished work - but I was hooked from day one. Once we came out of lockdown I signed up for a studio membership, and I started spending most nights after work in the studio practising at the wheel.
Tell us, where do you go and what do you do to get inspired?
Although I dream of my own space, working out of a shared studio is a blessing. Being surrounded by so many other amazing artists day to day makes such a difference and I rarely feel completely creatively "stuck" in the studio.
There are days when I go in and barely work or produce anything, but just talking to other potters and seeing what they're working on is really inspiring.
Living in London we have access to so many amazing (and usually free) galleries, some of my favourites include Klei on Hackney Road, Guts Gallery in Clapton, and Haricot Gallery in Shoreditch.
We were instantly drawn to your unique designs and individual style; how do you arrive at these forms and finishes?
Our apartment is filled with tableware experiments in every shape and form. The pieces I typically make the most of are the pieces I find myself or my girlfriend reaching for most often at home. Developing an unconscious preference for certain pieces is usually a good sign - at least for functional work!
What inspired the squiggle bowl?
I've been really into making these big serving bowls lately, and there was a period where I would throw a stack of bowls, and then spend another day mindlessly decorating the inside wall.
A lot of very messy, scribbly bowls came out of this and made their way onto the studio’s purge shelf (picture a graveyard for pots) - but I really liked the way these particular ones came out, so I kept making them.
Can you describe the process of making the squiggle bowl and the materials you use for it?
The bowl is thrown in my usual sandy buff stoneware, which I love as it adds just the right amount of texture and is a dream to work with. Once it's trimmed and bone-dry I decorate the inner surface by hand with diluted black underglaze and a small brush. Everything is freehand, so although pieces are visually similar - they are all unique. After a first bisque firing, I dip it in a clear glaze before being fired a final time and it’s done.
What’s a typical day in the studio for you?
Honestly, no two days are the same. It depends on whether I'm working on a production run, or if I'm just in there to work on something for myself. On production days I have a fairly solid routine - get all my tools, clay, and in-progress work out, weigh out and wedge all my clay, trim yesterday’s work, throw today’s work, glaze any bisque ware, and clean up. On other days I just go in to make a mess and hope something comes out of it!
Do you ever get creative block? How do you work through it?
Definitely. I find especially when I've been in production mode for a while I come out of the other side feeling a bit uninspired. Forcing myself out of the routine and order that comes with production work is usually a good start - sitting down at the wheel without weighing clay or planning anything out and seeing where the form goes, with no plan or expectations for the finished piece.
You mentioned you do ceramics on the side; how do you find juggling ceramics with other commitments? Are there any challenges in running a business or is it a welcome creative outlet?
It took me a while to find the right balance, and for a while there it felt like I was working two full-time jobs. But I've since learnt to gauge how much pottery work I can manage without burning out. I think since I already have a full-time day job I want pottery to remain a hobby first and a job second, otherwise the joy would be lost. I would love to transition into full-time pottery work eventually, but for now I've found a routine that works!
We love that you personally dropped our order round, and we always like to meet the makers behind each crafted piece. As a maker is it important to you who makes the things you buy?
Absolutely! There's something very special about objects that have come from the hands of friends. My dream home is filled with the work of the people in my life.
