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Tales of a Red Clay Rambler: A pottery and ceramic art podcast · Ben Carter

Aysha Peltz on stretching the boundaries of porcelain

·54 min·3 clips
Peltz says she is drawn to “fruit before it dies,” “balloons before they pop,” and “the Hindenburg before it blows up.”
The episode opens inside the Brickyard Network, with sponsor notes for Cornell Studio Supply and MonkeyStuff before the talk settles into ceramic practice and close looking. The best stretch asks what happens when a ceramic object has to travel through a photograph. A single view does not do much for a pot whose surface changes as it turns. The host talks through front, bottom, left, right, and extra photographs, especially when a glaze carries small shifts that can vanish on a screen. Professional images help. He compares the sharpest work from his photographer with the plainer results from a basic light box, and the point is not vanity. It is whether the piece still has a pulse when the viewer cannot hold it. One glaze run starts to look like a waterfall moving down eroded rock, almost a Grand Canyon scene. Suddenly the pot feels less like a small vessel and more like a way to feel scale, pressure, and the shortness of human life next to stone. That could get grand fast, but the conversation keeps its hands in the studio. It stays with glaze, photographs, angles, and the odd humility a good pot can trigger. The close returns to the show's usual rhythm: sponsors, artist information, social channels, and a nudge to look longer.

As heard by us

A measured conversation about surface, scale, and what a pot can carry.

The episode keeps its focus on practical things: how a surface reads online, what a single profile image leaves out, and why a studio photo shoot can change how a maker sees the work. It does not rush, and that suits the subject.

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Why you'd press play

For when you want ceramics talk that opens into image, scale, and the feeling of landscape.

Read the full recommendation in PlayNext →
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