nattier news
Chat with Jane Sawyer of Slow Clay Centre
Nat had the pleasure of chatting with Jane Sawyer of Slow Clay Centre. Jane is an internationally acclaimed ceramic artist and inspiring teacher. She founded Slow Clay Centre in Collingwood where an outstanding program of varied ceramic techniques are delivered. Below is an extract with complete article originally published here
Jane: Hi Nat! I’d love to start before Nattier existed. When did clay first begin to feel like more than just something you were trying and was there a moment where you realised you were no longer “dabbling”? What was your life like then, outside the studio?
Nat: Life was in a major transition. I had become a mother and after a prolonged mat leave left my full time design job so I was the most lost I’d ever been in my life. There was a gaping hole to fill. My first clay course was at a community centre and, being a product designer the very first thing I did was make a functional object. I had a desire to share what I had made but it took some time to work out what that would look like.
Jane: You spent many years learning and testing before launching your own studio. What do you remember most about being a student? Did you have a sense of where your work might end up, or were you just following curiosity?
Nat: I loved being a student (however I did feel a bit like I was on borrowed time from the family and pursuing this path had a lot of challenges). Generally I felt like clay people were the most kind and supportive people I’d encountered. I think a commercial design environment is overly critical, it has to be. Being a student was the opposite. Peers and teachers were supportive and encouraging which did wonders for my confidence and I felt the most free to express myself. I loved the advice from you, Jane, to analyse my work and examine the elements I like and the ones I don’t and use that reflection to create the next iteration. I still use that thought process when things don’t turn out as expected.
nattier news
Nattier x Jardan
Nattier Ceramics has debuted at Jardan Furniture. Natalie Rich of Nattier spoke to Jardan recently. Read on to find out more...
What inspired you to start Nattier Ceramics, and how did your journey with clay begin?
Nattier has been a long time in the making. I have an Industrial Design background and worked in commercial design for many years before I started learning how to work with clay around 10 years ago. It wasn’t until 2023, after honing my technique for many years, that I felt confident enough to produce work at a standard I was satisfied with, and launch Nattier Ceramics. The Nattier range was developed from a genuine need for things I wanted to use myself and having an attitude of ‘darned if I’ll buy this off the shelf, I can make it myself!’. Choosing clay as a medium was a practical decision and once I started working with it, I was completely captivated. My beloved late grandfather built a brick manufacturing factory and my earliest and fondest memories involve clay wrangling; the smell, the dust, the cavernous kiln I was both terrified of and fascinated by, digging for clay, constructing machinery and solving manufacturing problems. In the early stages, I also learned a huge amount from a range of inspiring practitioners through classes, workshops, and working as a studio assistant to artists.
My specific design language is closely linked to my design background and many years working in CAD. It wasn't conducive to handbuilding/throwing (though I still loved learning these techniques) but rather slipcasting and specifically slipcasting in porcelain. I spent a long time in a cycle of designing - making - failing, learning how to use both the process and the material to bridge the gap between concept and finished piece. The landslide of mistakes I made with my own hands has given me an incredibly close relationship and thorough understanding of the process and material. Now I've reached a point of reasonable predictability and knowing what's possible where design and production flow together with ease.
What inspires you the most when creating?
There's no shortage of inspiration in terms of form. I am a classic daydreamer and see shapes in clouds and shadows. I love objects and dissecting exactly what makes them so. I’m fascinated with interplay between the natural world and the built environment and that of ‘masculine’ and ‘feminine’ mental shape associations. How these interplays balance out is based on memory and my experiences, and ultimately my aim to encapsulate joy.
Can you walk us through your process of making a piece, from idea to finished object?
My process begins with setting parameters to work within as it's easy to get lost if there isn't a brief of some kind and the fear of the blank page can take hold. Ideas sit and grow with me for some time. I sketch a lot early on and enjoy how the immediacy and looseness of drawing frees up the form. From there, the work is transferred to the computer where I comb through all the details and finalise the form before making the model and plaster mould. Once the mould has dried completely it is ready to use and liquid clay (slip) can be poured in to form the casts, which are then finished, glazed and fired to create the final pieces.
How do you approach creating pieces that are both beautiful and functional?
That's really nice, thank you. One of the best steps I’ve found is drawing at life-size scale because it helps me resolve both aesthetic and practical issues. All Nattier Ceramics are made from porcelain which itself is incredibly beautiful and practical. Its high firing temperature and superfine particles make it stronger and more resistant to chipping than stoneware, and the pieces can safely be used in the oven, dishwasher, and microwave. The fineness of the material also allows me to achieve intricate surface details that capture the subtle marks of my hand as the maker.
Which shapes or silhouettes have resonated most with your audience?
The Mother of Pearl Oyster Plates are the most in-demand. Their unique design and functionality make it easy to create a cute dish simply by plating, and they’re also very popular for gifting.
How do you incorporate sustainability and longevity into your work?
Working in clay has a permanence that means I critically analyse every piece to be the best version possible. I have a strong reverence for nature and working sustainably is inextricably linked to the studio practice as a whole because I can’t, in good conscience, bring myself to operate in any other way. One of the best practical examples is that the studio only single-fires compared to the customary 2 or more firings. A bit of testing, a leap of faith and extra delicate handling is required to ensure the single firing process is a success.
What has surprised you most since launching Nattier?
As a designer I don't know if there is anything better than becoming a part of someone's life through the work I create. It is something that I’ll never take for granted. I continue to be overwhelmed with gratitude having people use and enjoy the pieces in their homes - just today someone told me they baked nachos in the Oyster Plate. Your pieces are perfect for summer dining.
Can you share a favourite memory or moment around a summer meal that inspires your work?
Last Summer I hosted a large Christmas Day lunch and there was a lot of Nattier involved (quite possibly the entire range) including the desk organiser as vases, because they're nice and short you can see over the top of them in a table setting. Inspiration for new pieces often comes from my own needs. I recall at the time thinking I’d like to make some more baking dishes because the porcelain withstands heat so well and baking with ceramics gives such a great crust.
How does food and connection influence your creative process?
There is a human quality to the work because it is made entirely by hand. At the heart of Nattier, I hope my work fosters connection, especially through shared dining, a deeply human experience that naturally brings people together.
What’s next for Nattier Ceramics?
I’m excited to disrupt everything I’ve been doing, and Picasso's “learn the rules, then forget them” reflects how I feel at this stage of my practice. My future works will embrace the handmade even more, highlighting both the delicate qualities of porcelain and the markings left by the slipcasting process. Each piece is increasingly complex, building on the one before it. I’ve been experimenting with paper to capture ephemeral moments in ceramic form. This process will, I hope, lead to a new collection of lighting and vases. I’m also looking forward to collaborations with fellow creatives. Stay tuned!
Link to original article published here by Jardan Furniture, Summer 2026 Campaign
nattier news
Lighting: Project Feature
Nattier Ceramics worked with Archer Interiors to supply handmade lighting for their landmark build, Lume House.
Working closely with Aimee Tarulli, the principal of Archer Interiors, the Pixie Wall Sconce and Daisy Wall Sconce were specified as bedside table lights to compliment and complete the soft spaces.
This project involved bedside lighting for two bedrooms. Each room required a unique design to compliment the space and individual inhabitant of the room. A balance was struck with the specification of the Daisy Wall Sconce in Natural White for one room and Pixie Wall Sconce in Natural White for the other. Similar enough to continue the design language through both the bedrooms yet different enough to stay true to the different personalities of the bedrooms. Aimee sought a softness for this project and also had specific sizing in mind. The Nattier wall sconces were the optimal choice in creating the right environment for this landmark project build and it has been wonderful to see the project come to life. We hope you enjoy it too!
