Mika Chen runs a small ceramic studio in Portland, creating functional tableware that balances traditional techniques with contemporary minimalism. We spoke about material choices, production constraints, and sustainability in craft.
On Material Selection
Why did you choose stoneware over porcelain?
Porcelain is beautiful—that translucent quality, the pure white. But it’s demanding. It requires perfect conditions, high firing temperatures, and it’s unforgiving of mistakes.
Stoneware has character. The clay body has texture, slight color variation. It’s honest. And practically, it’s more durable for daily use. People actually use my bowls, not just display them.
Where do you source your clay?
Within 200 miles. I use a regional clay body that’s mined in Northern California. Could I get cheaper clay from overseas? Sure. But the carbon footprint doesn’t align with what I’m trying to do. Plus, working with local materials means supporting regional supply chains.
The clay has iron content, which gives it that warm, slightly speckled appearance after firing. That’s the terroir of the material—you can’t fake it.
On Craft & Process
Your pieces have a distinctly hand-made quality. Is that intentional?
Absolutely. I could clean up the throwing marks, make everything perfectly smooth. But why? Those marks are evidence of the making process. They show that human hands shaped this object.
There’s a Japanese concept—te-ato, the trace of the hand. It’s not about sloppiness; it’s about honesty. Each piece shows its creation story.
What are your production constraints?
Time, primarily. I can throw about 20-25 bowls in a day. Each needs to dry slowly to prevent cracking—that’s 3-5 days depending on humidity. Then bisque firing, glazing, glaze firing. From clay to finished piece is about 2-3 weeks minimum.
I fire my kiln once a week. It takes 12 hours to reach temperature, 24 hours to cool. That’s 36 hours where I’m not producing, just waiting. But you can’t rush ceramics. The material demands patience.
How do you handle loss?
In every firing, I lose 5-10% to cracks, warping, glaze defects. It’s heartbreaking when a piece you spent an hour throwing cracks in the kiln. But that’s ceramics. The fire is the final judge.
I’ve learned to accept it. Those failures teach you more than successes. Why did it crack? Was the clay too wet? Did it dry too fast? Each failure is information.
On Design Constraints
Your forms are quite simple. Is that an aesthetic choice or a practical one?
Both. Simple forms are easier to produce consistently—important when you’re a one-person studio. But also, I believe in restraint. A bowl needs to hold food, stack easily, clean well. Everything beyond that should serve beauty, not novelty.
Do you sketch designs?
Rarely. I find my forms through repetition. I’ll throw 50 bowls of the same size, and around bowl 30, something clicks. The proportions feel right. Then I spend the next year refining that proportion.
Design happens through making, not drawing.
Any forms you’ve abandoned?
Handles. I spent six months trying to design the perfect mug handle. Never got it right. Either too thin (uncomfortable), too thick (clunky), wrong angle (ergonomic nightmare).
I realized I was fighting the material. Clay wants to be smooth, continuous. Handles are interruptions. So I make handleless cups now. Problem solved.
On Sustainability & Packaging
How do you approach sustainability?
It’s complicated. Ceramics are inherently sustainable—they last centuries, don’t off-gas, are completely recyclable. But the firing process uses significant energy.
I fire electric, not gas—cleaner but still energy-intensive. I’ve installed solar panels to offset usage. The kiln runs on sunny days when possible.
Material waste is minimal. Scrap clay gets reclaimed—I have a bucket where all scraps go. Once full, I reprocess it. Nothing goes to landfill.
What about packaging?
This is where I struggle. Ceramics are fragile. They need protection. Bubble wrap is plastic. Paper isn’t always enough.
My solution: recycled cardboard boxes, packed with corrugated cardboard sleeves I cut myself. Labor-intensive but plastic-free. I ask customers to save the packaging and return it for store credit. About 30% do—better than I expected.
For local pickup, I encourage customers to bring their own bags or boxes. Eliminating packaging entirely is the most sustainable option.
Is sustainable craft more expensive?
Yes. Solar panels were a major investment. Sourcing local clay costs more. Plastic-free packaging takes more time. These costs get passed to customers.
But my customers understand. They’re not buying the cheapest bowl—they’re buying an object made with integrity. That has value.
On the Business of Craft
Can you make a living from ceramics?
Barely. I’m not getting rich. But I pay rent, buy groceries, occasionally go out to dinner. For me, that’s enough.
The economics are tough. If I paid myself minimum wage for every hour worked, my bowls would cost $200. Instead, I price them at $45-60. I’m subsidizing my work with my time.
But this isn’t about maximizing profit. It’s about making objects I believe in and hoping enough people value them to keep me going.
Any advice for aspiring ceramic artists?
Lower your expectations about income. Raise your standards for quality. Be patient with the process—ceramics will humble you daily.
And find your constraint. Mine is local materials and sustainable practices. Constraint forces creativity. Without it, you’ll drown in possibilities.
Final Thoughts
What do you want people to feel when using your ceramics?
Connection. To the material, to the making process, to the person who made it. When you hold a handmade bowl, you’re completing a circuit—from earth to maker to user.
In our world of mass production and digital everything, that physical connection matters. It reminds us that objects come from somewhere, made by someone, with care and attention.
That’s worth preserving.
Mika Chen’s work is available through her studio website and select galleries in the Pacific Northwest. Commissions are currently closed; she reopens her order books quarterly.