Rosella from Space for Clay

As you step into her quaint studio on a little street in Birkirkara, you're immediately greeted by the soothing sound of classical music. Sunlight floods the space, illuminating every corner with a warm, inviting glow. For Rosella, this natural light is a non-negotiable element of her workspace. The doors open directly onto the street, making her studio easily accessible to anyone curious enough to stop by.

True to the name she chose for her studio, Rosella has crafted a space for pottery-making where people can freely learn, experiment, and explore the art of ceramics. Her dedication to ceramics, as she celebrates her 30th year, has earned her the title of "pottery architect," a testament to how she has created an environment where ceramicists can thrive and practice their craft.

We had the pleasure of sitting down with Rosella one morning to delve into her creative journey, discuss the unique aspects of her studio, and hear about her plans.

il-lokal: Can you describe the different tools and equipment you use in your ceramics studio?

Rosella: So there is the shelving that holds my work for sale, and the equipment like working tables, a slab roller, extruders, wheels, a coffee cupboard, a radio (usually on Classic FM), and a recycling machine called the Peter Pugger pugmill. If clay isn't usable, it goes into the pugmill and comes out as reusable sausages. We waste very little in ceramics and use almost anything from the kitchen as tools. Eventually, you start buying your own tools more as a treat than a necessity. You can use anything for shaping or texturing, from kebab skewers and chopsticks to spoons and knives. Your best tools are your fingers, but smaller tools are necessary for fine details. Once you find the right tool, it lasts forever.

il-lokal: What does the process involve?  

Rosella: The process involves two phases: shaping the clay, refining it, and then allowing it to dry. Once dry, the pieces undergo the first firing. We fire twice due to the use of high-fired stoneware clay. There is a wide variety of clay worldwide, with over 500 types. In each country, after digging and cleaning, the clay is bagged for use. The firing temperature depends on clay strength which is determined by regional deposits. Clay must be fired for posterity. Having said this, there is an unfired piece, like a tableau at MUŻA, which was preserved due to its careful storage.

il-lokal: How does this process contribute to the final product? 

Rosella: We fire the ceramics once to make them solid but still fragile, making them ‘bone dry’. If broken, they are recycled. From bone dry, they are bisque fired at 980°C to become solid. Our shelves hold either works in progress or finished pieces. After bisque firing, we glaze the pieces using different methods like dipping, pouring, or brushing. The glaze, which is water-based, is absorbed by the clay and sticks to it. The glazed pieces are then fired again, and since the glaze is made of chemicals in suspension, it has properties that turn it into glass. Each glaze is different. Once in the kiln, we say that the result is up to the gods because of the unique shades and colours that emerge. Currently, we have one kiln, firing at 1260°C for high fire, with a new kiln arriving soon from Germany. 

il-lokal: What are the biggest challenges when it comes to working with clay? 

Rosella: In ceramics we never really know what the clay is composed of. There should be no issues with it if it is clean clay, but there is the possibility of picking up hair, dust, or plaster when it is recycled, even if we do our best to avoid it. Sometimes we get cracks. Air is our biggest enemy because if it enters the clay, a very tiny hole is created which can barely be seen. It can sometimes be felt like a bump, depending on how the clay is being worked but sometimes we will not be aware of it until the end. It is essential to remove air bubbles as early in the process as possible if found. However, if a piece goes through with an air bubble, the clay will crack in the first firing, and all the work is lost which can be disappointing. This can be avoided by being more careful, and following the rules of the clay. 

il-lokal: How did you get started in ceramics, and how did your early experiences and background influence your journey in pottery?

Rosella: In 1994, my sister saw an advert in the paper about a throwing course and even though I had never touched clay and knew nothing about throwing (working on the pottery wheel), I agreed to join. My sister attended the course only three times but I enjoyed it and stayed. I kept getting muddy, not making anything, and my first pieces were horrendous. My family was very focused on education and work, so my background is in administration - it has now become extremely useful because I can apply it without centering my life on it. In 1996 I completed my first course abroad in Wales and I loved it. This is when I bought my first wheel. I am now at my third wheel. Eventually I bought a small kiln to learn on, and then a pug wheel. In the meantime I also attended festivals in Aberystwyth and went on courses in England. I did not opt for Italy because I was afraid of the language barrier when it came to technical terms. Eventually I found a solution to this by sending the chemical formulae of the raw materials I needed to a chemist in Caltagirone, Sicily to understand the names he would give them in Italian.

il-lokal: How did you develop your skills and approach to working with clay?

Rosella: In the beginning, I learned that patience is crucial when working with clay. Making mistakes early on is very natural and can actually help in your learning process. As you encounter and resolve challenges, your confidence in handling the medium grows. Clay isn't just a material; it's something to connect with and appreciate. Constantly washing your hands for example interrupts this relationship. In the studio, having my hands covered in clay is normal —it feels strange otherwise. Engaging with clay is about collaboration, not confrontation. Instead of questioning why the clay is behaving a certain way, consider what you are doing to it instead. It's a dynamic exchange - clay responds to our touch, almost as if it's alive.

il-lokal: Is there anything you have learned from your previous experiences that you apply to your work today?

Rosella: I've learned patience, resourcefulness, and looking at situations from various perspectives. At a previous job, we used Edward De Bono's Six Thinking Hats method, where we explored different emotions and viewpoints on tackling issues. Even in disasters, I've trained myself now to find solutions. I once made a costly mistake with a gas kiln, which resulted in all the pieces exploding due to air bubbles. It was disheartening, and I needed some time to cool off but I wasn’t afraid to try again. I've learned to allow myself to feel anger or frustration for 30 seconds before moving forward. I think that transparency is key with people I work with. I share photos of the finished pieces with the clients, so that there are no surprises if they turn out to be broken. Ultimately, with pottery nothing is certain, which demands that we leave the outcomes to the kiln gods.

The studio has grown from a personal endeavour to a larger-scale space, in order to meet the needs of the community. My clay orders have increased, as artists use the space to create for exhibitions and to sell their work. This growth aligns with my vision of cultivating an appreciation for ceramics and providing a supportive environment. Success, for me, is ultimately about building something sustainable, that can run even without my intervention. The studio is dedicated solely to clay work, and the clay reigns here. While I do charge for studio use, it's not about the money—it's about accountability and having a reason to learn from mistakes. Although I do not run an educational institution, I aim to guide and provide feedback to creatives, ensuring they understand how to work with clay effectively and discussing how to solve issues together. 

I have met so many nice people here and sometimes they send me messages about their progress. In Holland for example, a woman who opened a studio that is doing very well. She’s Dutch, and she came here for three months. She would sit on that wheel for four days a week and now she’s opened her own studio. I have been meaning to visit her. Another person in England was going to open a non-profit organisation and she asked me if she could come and learn how to run a studio and what one would require for it. She came and learned, and they are now doing very well - The Potthouse Collective. That is the success of this studio. 

il-lokal:  You seem to put a lot of effort in cultivating this space as a community - what role does collaboration and learning from others play in your ceramics practice?

Rosella: I'm always open to trying new things, provided they're safe. If someone suggests an idea I haven't tried yet, I'm eager to explore it. While I can't guarantee success, the results may be interesting. When it comes to glazes, for instance, I often draw inspiration from others, integrating elements I admire into my own work. Here at the studio, we foster a sense of community where we encourage the sharing of knowledge. Networking is a crucial aspect of my journey in ceramics, especially when I was just starting out and it was less common. Now, as part of the Space team, we collaborate together, and discuss solutions based on each other's experiences. 

il-lokal: Where do you find your inspiration? I’ve noticed that there is quite a selection of books here.

Rosella: I love books! I had a teacher in an evening course who hated them, saying it was like copying, but it depends on the person. I don't believe you can truly copy in ceramics—clay, firing, and glazing are all different. When I'm stuck, I open a book for inspiration. I might see a shape I haven't tried and challenge myself. But you have to let go because it is the clay that will guide you. Children are great at this—they make worms and balls, which then become caterpillars. I never tell them what to make; I let it happen. I believe that everyone should touch clay and work with it their way. In the 12 years I’ve been at Space for Clay, I have only encountered three people who couldn't work with clay because of the dust. I actually started because I loved getting muddy, and it's calming. People come here to destress, whether they make something or not. When I was dealing with issues in my life, I'd lock the door and throw clay until I felt calm. The Japanese and Chinese masters who have deep clay traditions believe that whatever the clay wants to be, it will be. It's about the clay, not us.

il-lokal: The pieces here are beautiful - do you exhibit the ceramics you create?

Rosella: I don’t exhibit, and there's a reason for it. I feel like I exhibit every day through my work. Each piece reflects a particular period of my life. For example, the two pieces called "Turmoil" represent a difficult time - one is inspired by the leaf of a prickly pear and the other is a representation of my life as I try to maintain a smooth front while there is a lot happening within. The ‘starfish’ came from a period of medical uncertainty. Some pieces are more lighthearted, like the piece I made during Christmas from leftover black clay. These pieces serve as personal reflections but are also available for sale. I rarely create for myself; most pieces are made with the intent to sell. Creating helps me process negativity and maintain a positive outlook. I feel fortunate to have discovered clay, even if it is later in life. I've learned to navigate life's challenges with maturity and positivity, avoiding negative language like "no" when finding solutions.

il-lokal: Is there something specific that clay has taught you as you explored this medium? 

Rosella: Clay has given me the idea that you have no control. You can't truly control clay; you can only reach your objective. Repeating a process a hundred times might make you feel in control, but true control is an illusion. If you consistently make identical pieces, you're a production potter, not a studio potter. I treat each piece individually because everything I make is unique. If I am making mugs, I look at them and craft handles to fit each mug individually. For me, not controlling is a conscious choice. Clay teaches you to deal with whatever comes.

il-lokal: If anyone was interested in starting out in clay what would you tell them?

Rosella: Go do it. There are a lot of places like Space for Clay - there is Potter’s Thumb, Alka Ceramics, Bristow Potteries. Go do it, muck around in clay, if you take that first step, you’ll know if you like it or not, and if it is for you. There are a lot of challenges - if the clay dries or it is too wet, it will easily be ruined but the rewards are great; knowing that in the end you’ve done it. I myself walked in blind, knowing nothing about clay, just finding myself full of this muddy stuff. I learned a lot from Anna Caviola who is a very good ceramic artist and thrower. I used to watch her, as I did during festivals, to see where the hands are, where the body is, where the pressures are, while also accepting the limitations. I would advise you to never  give up. I believe in the journey; I don’t believe in the destination. I come to the studio on Monday really happy to work because I have a drive and a love for the medium. A vision gives you a reason to live. I'm going to live the life I have here in clay because I’ve found my passion. My husband asks me: ‘When are you going to retire from clay?’ And to that I say: ‘When I die’. Here you don't have to prove anything because you do it for you, - it's about time you started doing things for you. 

il-lokal: Do you have any plans for Space for Clay?

Rosella: The plan is the new kiln - we’re going to have to learn to live with it because it’s big, it’s new, but we’re really excited about it. The physical space itself doesn’t lend itself to more equipment. I’ve thought about getting a bigger space but that would require more energy and more people. I believe it's all about keeping a balance between offering the best service to the most number of people without being the most number of people and offering less of a service. It’s a balancing act of navigating the events that happen here. The courses take a lot from the studio because the pieces that are big take up a lot of space while sitting on the shelves. It’s about keeping the balance to the maximum. 

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p.s. Since interviewing Rosella a few months ago, the new kiln has arrived. After some initial suffering, they have now developed a working relationship..!