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    02 Nov 2025
    Interview
    2nd November 2025 Lulu Weide

    A Discussion with Ceramicist Katie – Mabel & Co

    Meet the artist

    The Art Buyer gallery are delighted to show works by Katie of Mabel & Co. Katie creates hand-thrown ceramics in Mabel & co’s Suffolk-based studio, taking inspiration for the natural surroundings. We interview Mabel & Co on their origin, pottery process and sustainability.

     

    How did ‘Mabel & Co’ come into fruition. We’d love to know the origin story.

    That’s quite a long one! So let’s try and do the short version… about 10 years ago James & I travelled to the Isle of Lewis to rescue an old Harris Tweed weaving loom, from an abandoned croft. We brought it back to our studio and set about restoring it. The whole process took much longer than anticipated and along the way we got a bit sidetracked by letterpress printing, photography and pottery, so now we divide our time among the different aspects of the studio.

    How were you introduced to the medium of clay?

    I have had a long love of studio pottery that goes back over 20 years, when we funded our way through university by buying and selling ceramics from British potters, usually historical figures like Bernard & Janet Leach, Lucy Rie etc. This interest bubbled along for many years and then when I was able to work on Mabel & Co fulltime I set up my own pottery studio at home, which allowed me the space to explore my practice and develop my processes and style.

    What drew you to working with your materials?

    I love rough, textured clay! The way it throws is quite unlike anything else and has a solidity and earthiness. Very refined clay doesn’t look or feel like clay you would find in nature, which tends to have sand and other matter within it. My clay, which has a high grog content, matches this and because I glaze sparingly, this forms a large part of the piece. I always get people to handle my pots and run their fingers over them, because you get this amazing contrast of the rough clay, mid texture white glazes and then the very smooth runs of what I call the ‘clear water’ glaze.

    How do you approach starting each new piece; do you have a routine in your working space to begin making?

    I’m a very instinctive (some might say impulsive) thrower. I have a broad idea of the size and shape, but then allow myself the freedom to see what comes in that moment. So much will inform the final shape, from the way the clay reacts to my hand or how I am feeling, to technical aspects such as the water content and even if the clay is fresh.

    I bring this same approach to my glazing, which is quite painterly, allowing ideas to form and be executed in the moment, within boundaries of style and glazing tones. All this means that each piece is a one off, the result of any number of factors, choices and chances, which come together just once.

     

    ‘Mabel & Co’ covers a range of art practices and materials, how does this play out day-to-day?

    It certainly gives me variety in my week. It would not be unusual for me to jump off a printing press and go straight onto the weaving loom, then go home and start glazing. What’s really interesting, but pretty much unplanned, is that people say they know when something is made by us as it has a common look or feel, with a similar palette, which I guess speaks to the authenticity.
    Some people find it confusing or even worrying that we do a range of craft disciplines, but in other fields it’s not unusual; musicians will often play a number of instruments or linguists speak multiple languages. Just as with these, there is a lot of crossovers or shared skills between the different areas in which we work. I love it, I love the richness and, as I say, the variety.

     

    Sustainability and artisan practices seem inherent to your work, we’d love to hear what your motivations and passions are.

    The practice was really founded on a concern for sustainability, in the broadest sense – environmental and human. Craft has an innate connection to material and to me it would be just weird if that didn’t take into account it’s origin. Likewise by leaning in on traditional craft practices, with it’s focus on hand work, we are benefiting from this low impact way of working.

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    View the Mabel & Co collection

    Mabel & Co, The Art Buyer gallery

    Mabel & Co collection at The Art Buyer gallery

     

    My Life in Art- Katie from Mabel & Co 

     

    First piece of art you bought?

    Going to go with my first painting, which was by our friend Anna Mac.

    Anna Mac- Colour & Composition Study No. 7. Photo courtesy of Mabel & co.

     

     

     

     

     

     

     

     

    Favourite Artist?

    Lisa Milroy- 1980s/90s artifact works.

    Lisa Milroy born 1959 | Tate

    Lisa Milroy b. 1959. Image credit: TATE.

           

     

     

     

     

     

     

     

    If you could own any piece of art (even if you have to rob a bank or museum!), what would it be and why?

    Sticking with Lisa Milroy and one of her lightbulbs series.

    Lisa Milroy - Lightbulbs 1988 oil on canvas order Lisa Milroy ...

    Lisa Milroy – Lightbulbs 1988. Image credit: Lisa Milroy website.

     

     

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