We’re delighted to welcome ceramicist Amelia Christoffers to the Fodder fold. Based in West Dorset, Amelia creates sculptural vessels, lamps, and vases that feel rooted in the natural world, pieces that seem to have grown from the landscape itself. With a background in floristry, her work explores the meeting point between form and function, often rethinking what a vessel can be. Through her studio, Clay and Salt Ceramics, Amelia also shares her knowledge with others, running workshops that celebrate the tactile and grounding nature of clay. We caught up with Amelia to learn more about her practice, her inspirations, and what’s next in her making journey.

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F | Hi Amelia, we’re so excited to have your work joining our shelves! We’d love to hear a bit about you and your practice.

To get us started, could you tell us a bit about yourself and your work? How would you describe your practice, and what has your ceramics journey been like so far?

AC | I have been doing pottery off and on since I was a kid taking weekend classes and going to summer camps. Most of the classes I took focused on throwing on the wheel but, when I returned to it 6 years ago I decided to take the handbuilding route since I wanted to create more organic shapes. I end most days sketching in bed and always have a full sketchbook of ideas I’m keen to make in my studio. I feel like my ceramic journey is constantly changing but with each change I am getting closer to what feels most authentic to me.

F | You have such an interesting background in floristry – the perfect pairing with ceramics. We’d love to hear more about this and how it has shaped your current work or the way you approach making. We understand you aim to create containers that can be both sculptural pieces and vases, helping to minimise waste in the flower industry. Could you tell us a bit more about this idea?

AC | When I was working as a florist I would create large impactful pieces with hundreds of flowers knowing they would only be up for a few days before ending up in the tip. Fellow florists and I would often revel in the beauty of a lone flower the same amount, or sometimes more, than a whole bouquet. Other than bud vases, which are often simple in design, there weren’t any vases that allowed for minimal floral design that were also beautiful. I just experimented with different forms and shapes for months trying to achieve this. It wasn't until my friend asked me to make a vase for one of my favourite flowers, the Icelandic poppy, that I designed the blob shaped vase. I have since moved away from that shape, now focusing on more of a classic shape and filling it with flowers from local sustainable flower farms.

F | Your sculptural pieces, like the lamps, almost feel like they’ve been formed or found in a landscape. They have such an organic quality. From living in the US to now being based in West Dorset, the natural world seems to flow through your work. How does the landscape influence what, or how, you make?

AC | The textures in nature have always inspired me. There would be things like stones, pinecones, tree bark scattered on the kitchen countertop that my dad would find and bring home to share. This trait of collecting inspiring bits found in nature is something he passed onto me. Now living by the seaside, I am inspired by things like hag stones, and my white washed finish by the foam found at the tips of a wave.

F | How does a new piece usually begin for you? Do you start with a sketch, a texture, or perhaps a mood or memory you want to capture in clay?

AC | Most of my pieces start with a sketch then for larger pieces I make a miniature version of it. When creating my lamps I will fill a page of a sketch book with different shapes then take the one I like the most and make small adjustments to refine the shape.

F | One motif that really stands out in your work is the bow. We love the striking application and the perfectly pretty imperfection of them on the service of the textured vases. Can you tell us a little more about what inspired this?

AC | It was a combination from my childhood pastime of making bows during Christmas time for my family's flower shop to put on wreaths and seeing it through fashion cycles.

Inspired by the fashion world I love looking at photos of the different shows during fashion week. I saw it pop up in one or two shows in the AW2023 fashion week and could tell bows were going to be a thing which excited me. Making bows is something I always enjoyed doing as a florist, though it was a skill that I no longer utilised. I loved manipulating the ribbon and set myself the challenge of trying to emulate it in clay. Even now after many bows I still find it satisfying when I get the clay to look soft and malleable.

F | Alongside your own making, you also teach and run workshops from your studio, Clay and Salt Ceramics. How do you find balancing teaching with your personal practice? Do you have any advice for aspiring potters or complete beginners?

AC | I opened up my studio in April of this year and am still working towards finding a balance. I think there is more admin work than I imagined when it comes to teaching. So right now I am trying to create systems where I can eventually hand it over for someone else to manage to give me more time to make. If you’re looking to turn ceramics into your full-time job, try to get a job working for another potter or work in a shared studio. I learned so much from my studio mates in my first studio. It really does take time so start doing it on the side then, slowly give it more time until there comes a time to take a leap and make it your full-time occupation.

F | We’d love to know what’s next for you. How do you see your work evolving in the coming years? Is there anyone you’d love to collaborate with or a new source of inspiration you’d like to explore?

AC | I’ve decided to give myself more time to play and not think in terms of collection and see what comes of it. In the past I would try and make the pieces cohesive to one another, from the various organic shaped vases and lamps to different bow iterations. I am planning to turn a corner of my studio into a little gallery to display an array of pieces I have made along with objects in nature, or some of my favourite books that inspire me. So even though it might not be a collection where each piece looks similar there will still be a connecting thread of inspiration. One thing I would love to explore during this time of play would be experimenting with wild clay and sourcing it from the surrounding areas that inspire me.

F | We love celebrating other makers, too. Are there any artists or craftspeople – from our collection or beyond – whose work you’re admiring right now?

AC | I really admire Lilly Maetzig who sells her work under Mae Ceramics at your shop. She is currently making a collection of frosted ceramic urns that are truly stunning! I also admire what she gives back to fellow and aspiring potters in her two books and YouTube videos. They are a great resource when teaching or as a reference when making things like plaster boards or wanting to know a good amount of clay to start with when throwing a mug. Thank you Lilly!

F | Lastly, what do you hope people feel when they live with one of your pieces?

AC | I hope they feel joy when they use it and for it to stand the test of time.

Amelia’s work invites you to slow down and appreciate the tactility of the natural world captured in everyday objects. The three-dimensional, sculptural elements of her practice give each piece a strong sense of place, while the textures and glazes feel timeless in their application. We’re delighted to welcome her work to our shelves and can’t wait to hear what you think.

Our first collection is available in store and online now. Get in touch for more details.