1. You came to ceramics through painting, illustration, and graphic design - how did those disciplines shape the maker you’ve become, and what does clay give you that other mediums couldn’t?

I came to ceramics through my old passion as a young student. I was studying pottery at Vrå Folkehøjskole in Denmark for four months and was sold on the craft. I could not afford my own kiln 30 years ago and began to take pottery courses. I lost my job in 2011. Between these years I was working as a news graphic designer in newspapers and at a news agency.

As a former graphic designer, I like contrast, patterns, and black and white. Most ceramicists like to play with glazes, but I don’t. I like to keep it simple and focus on patterns. Painting is two-dimensional, pottery is three-dimensional – form in space: height, depth, and width. When you use clay, you connect with earth and mud. It is tactile, you can feel it. It is a physical material, something you can touch with your hands.

My original plan was to add my drawings to pots, but the dots came through a task I had on a course and they took over. I still have the plan! Now I paint patterns so I can use my painting skills there.

2. Every Polli Pots glaze is developed and mixed in your studio. Can you walk us through that process - what are you looking for, and how do you know when you’ve found it?

My ivory glaze, which I use on almost all my pots, was made for me by an older potter. I needed a glaze that could fit with my patterns, something simple in colour that was also a little bit rustic. I also use commercial glazes from my glaze company here in Denmark. As I make mugs, the glazes have to be suitable for food, and commercial glazes are tested and checked so that no forbidden chemicals are inside them. When I have more time, I would also like to make all my glazes from scratch. I let my students test some new glazes, and I will see how they react, how easy they are to work with, and what the results look like.

3. You describe your style as minimalist, rustic, and functional - but your pieces also feel quietly sculptural. How do you hold that balance between an object that works and an object that simply is? 

I try to keep my pieces simple in form. I don’t like overdecorated ceramics. Less is best! To make something timeless is the most challenging aspect, so I don’t follow any trends. If turquoise is a trend, I don’t make it. I also test all my pieces in my own kitchen and in all my family’s kitchens to see how they work. I never thought that they are like small sculptures, but they are and this is something new for me.

4. Sustainability feels genuinely embedded in how you work, rather than something added on afterwards. Can you tell us a little about the choices you make in the studio - from the clay you use to how you power your kiln?

I currently use clay made in the U.K. My working process is sustainable. I make all the pieces myself. I pack all the pieces and drive them to the post office. I wheel-throw, paint patterns, glaze, fill and empty all kilns. I design my own website, handle my own marketing, send newsletters, answer all emails, teach my students, pick up new clay, order all materials, and clean the workshop. The tasks are endless. I have probably not even mentioned half of the things I do!

Generally, ceramic materials are not sustainable, as they contain many chemicals. In the summertime, I use electricity generated by my own solar panels. In winter, I usually fire at night, especially when the wind is strong in Denmark, so I can use wind power. I reuse all clay, and all waste is delivered to the local waste collection point. I try to use rainwater whenever possible. My packing materials are also recycled as much as possible. I do not use child labour or fabrics from the East.

5. You live close to the sea in Denmark, and nature seems to run through everything you make. What does your immediate world give you - and what does it ask of you as a maker? 

Nature gives me energy and inspiration. I am so lucky to live close to clean waters - the Kattegat - where it is possible to swim all year round. I also have a forest nearby, where I walk my dog. I believe every person needs a connection to nature, it balances us. Nature gives meaning to life, some fresh air, and helps us cope with all the screens and computers.