Interview 

I studied product design at the Academy of Fine Arts in Gdańsk, where I learned to design everything from ships to jewelry. But I always loved small objects that fit into the hand and are part of a ritual. My first real contact with clay came during my diploma project: I designed a perfume vessel and wanted to make it from ceramics. That was my beginning.
After my studies, I worked in graphic design, but I missed working with my hands. During the pandemic, I lost my job and found myself renting a small studio space almost by accident. A friend who was a potter introduced me to the wheel, and I was hooked. The moment I touched clay again, I knew I had found my medium.
As for teaware—it was love at first sight. I stumbled upon images of shiboridashi vessels online, and their simplicity fascinated me. I tried to make one myself, although my first attempt was the size of a soup bowl! Later, I attended my first tea festival and discovered a community that welcomed me and taught me more about tea. That’s when I realized teaware could be my niche: beautiful objects that also need to function perfectly.

The material itself is my greatest inspiration. I started with stoneware, but porcelain captivated me because of its translucency and light. Unglazed porcelain feels like river stone, smooth and alive, and when tea is poured into it, the vessel transforms—the liquid brings it to life.
I love simple, well-designed forms, but I also try to leave traces of the hand so people feel the uniqueness of each piece. Nature inspires me endlessly—the grey tones of the Baltic Sea in winter, the textures of a beach, the fleeting colors of the sky. My recent collection for this exhibition is inspired by clouds, rivers, and horizons. The patterns, created by mixing cobalt oxide with porcelain on the wheel, are always different—like the sky, impossible to repeat.

.For me, function comes first. The vessel has to pour well, feel comfortable in the hand, and work with the tea. I always test my pieces, brewing with them before I sell them, to learn how they behave. Research also plays a role: I’ve studied how shapes affect different teas. For example, Japanese green teas prefer a flat bottom so the fine leaves can settle, while oolong teas with larger leaves need a taller, rounder form so the leaves can fully open. These small details change the experience of tea, and I love exploring that relationship.

 I love Japanese green teas and Chinese and Taiwanese oolongs—probably oolong is my favorite overall. But it depends on the day and how much time I have. At the studio, I often drink hojicha because it’s forgiving, warm, and comforting, even if I don’t have time to focus. What fascinates me most about tea is its range: it can taste like broth, flowers, or nuts. It’s endlessly inspiring.

 Simply happiness. I love my quiet life in the studio, and I want a little bit of that joy to be present in the objects I make. The best compliment is when someone tells me that my vessel has become their favorite thing to drink tea from. More than beauty, I care about how it feels in use—how it supports someone’s ritual of slowing down and savoring. If it can bring them peace, comfort, or a smile, then it has fulfilled its purpose.