Among the innumerable materials used in the visual arts since our species began making things, the earth—specifically clay—has held a unique mythic gravitas. In Christian tradition, humanity’s creation story begins with the soil: the fashioning of raw earth and its transformation from something lifeless and banal into something divine. The Sumerians, Egyptians, Chinese, and even the Titan Prometheus, each in their own way, fashioned mankind from the mud. It is almost impossible to fully grasp the human story without understanding clay.
In the Philippines, it can be said that the nation’s cultural DNA is profoundly shaped by objects formed from the earth. The iconic Manunggul Jar and the anthropomorphic burial jars of Maitum provide a rare glimpse into the funerary practices and beliefs of early Filipinos, particularly their understandings of death, personhood, and the afterlife.
And in modern and contemporary art, a substantial number of Filipino creators have pushed—and continue to push—the possibilities of clay as a material, signifier, and cultural marker. This lineage spans pioneering artists, ceramicists, and potters like Julie Lluch, Jon and Tessie Pettyjohn, Nelfa Querubin, Ugu Bigyan, Hadrian Mendoza, Joey de Castro, Siegrid Bangyay, and the late Jaime de Guzman, extending into a dynamic new generation that includes Pablo K. Capati III, Jose Solon Perfecto, and 2024 Thirteen Artists Awardee Ella Mendoza.
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It is within this rich, enduring ecosystem that the inclusion of Rita Badilla-Gudiño in Louisa Taylor’s “Ceramics Masterclass,” published by Thames & Hudson, feels entirely unsurprising. Recognized as one of 100 artists shaping the medium globally, her presence in that book goes beyond mere representation and visibility. It is an acknowledgment of the weight of Philippine contemporary ceramics and the space it ought to occupy in art history.
In this interview, London-based ceramicist and author Louisa Taylor discusses why Badilla-Gudiño’s tour de force piece, the Lual Kiln—an anthropomorphic, fiery kiln shaped as a birthing goddess—stands as one of the most important clay works to be studied by the next generation. Taylor also expands on what clay can teach us about the failures and triumphs of life, its transformative power, and how a Chinese pot thousands of years old, sitting quietly in a museum, can, through its permanence, capture the quiet echo of time.
What first drew you to ceramics, and what continues to inspire you about the medium today?
I was always an artistic child rather than academic, and one of my strongest memories from school was using clay in my art classes. I then went on to study art at college and had a very inspiring ceramics teacher who completely got me hooked.
I continue to love all the alchemy and development of skills that come with using clay as a creative medium. It also amazes me how you can take a lump of clay and transform it into something truly beautiful and unique.
What is it about clay that feels so special to you?
How it can capture the spirit of a person’s character—their ideas, thoughts, and expressions. I remember as a student seeing a Chinese pot in a museum that was a thousand years old, and there on the surface was a thumbprint embedded in the clay as fresh as the day it was made.
The permanence of clay and how it captures the echo of time is completely fascinating to me.
The permanence of clay and how it captures the echo of time is completely fascinating to me
Your book, “Ceramics Masterclass,” is a survey of 100 artists’ seminal works. How did you select the artists, and what patterns or surprises in their respective studio practices emerged during your research?
When I was commissioned to write the book, my role as the author was to ensure a balanced representation of artists from around the world and from a wide range of backgrounds. Some artists were included at the publisher’s request because of their historical significance or their influential role within ceramic practice.
From there, I organized the book into themed chapters, such as vessel, figurative, functional, conceptual, and decorative.
It was important to me to place new and emerging artists alongside established figures, and to highlight work that challenged conventions or expanded the language of clay. What surprised me most was how deeply contemporary artists are connected to historical practices and movements. I also admire the ambition and individuality of many of the featured artists who are constantly pushing the boundaries of what ceramics can be.
In the revised edition of your book, “The Ceramics Bible,” you have revisited and expanded upon your earlier work about the foundational processes of the plastic arts. What key concepts do you wish for your readers to take from your book, “The Ceramics Bible”?
I hope this book inspires and excites readers by showing just how broad and dynamic the world of ceramics can be. My aim was to present a wide range of styles and techniques that feel contemporary, relevant, and interesting.
As for key concepts, I want readers to understand that clay is an accessible material, something you can explore and make discoveries with. I always say: Don’t be afraid to take risks, experiment, and try things out. There is always more to learn, but the most important thing is to focus on what you enjoy, and the knowledge will follow.
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How do you see the relationship between traditional techniques and contemporary experimentation in ceramics?
The relationship is very strong. Clay techniques have existed for thousands of years, and there is something almost primal about handling clay, as if the blueprint is already in our DNA. I think there is an instinctive feeling when shaping and manipulating clay—it feels natural in our hands.
I also think it’s distinctly human to be curious and explore possibilities. Much of what we know about ceramic processes and firing techniques today was discovered through trial and error over the centuries and across continents. With new materials and advancements in ceramic technology, the possibilities for experimentation are virtually endless.
At the same time, clay is being used more conceptually by artists, challenging our preconceptions of how this material can be applied and understood.
You included the work of Filipina visual artist/ceramicist Rita Badilla-Gudiño in “Ceramics Masterclass.” Can you share your thoughts about her practice and your reading of her body of work?
I first became aware of Rita Badilla-Gudiño’s work when she presented her Lual Kiln in the form of a birthing goddess at the International Ceramics Festival in Aberystwyth, UK (2015). As a mother myself, I was immediately drawn to the metaphor of the firing process and the ritualistic, performative aspect of the work.
When I was commissioned to write “Ceramics Masterclass,” I knew I wanted to feature this remarkable piece and include an artist from the Philippines to highlight the country’s talent and contribution to contemporary ceramics. The images of the Lual Kiln in action, with spectacular flames erupting from the eyes and chimney, are incredible and captivate every reader who visits her page in the book. The piece is also accompanied by a film of the performance, providing a wonderful record of the event.
I was honored to be invited to the Philippines and meet Ms. Badilla-Gudiño in person. I also visited the first Lual Kiln installation built on site at the Faculty of Arts at the University of the Philippines, which was a particular highlight of my trip.
For you, what is so special about the Filipino approach to ceramics?
The Filipino approach to ceramics is marked by a wonderful sense of community, joy, and laughter. When I visited the Philippines recently, I taught a porcelain workshop at Tahanan Pottery, and everyone was so passionate about clay and developing their skills. There was a real sense of curiosity and excitement, which was infectious to be around.
I also noticed that the figure/body was a recurring theme in many of the artworks I saw. I think this reflects how central community, spirituality, and social relationships are to Filipino life and culture.
What can clay and the practice of ceramics and pottery teach us about life?
I think working with clay teaches you to be calm and accepting of life’s ups and downs. It can be a very unforgiving medium at times, whereby you invest hours of time and energy in a piece, only for it to fail in the kiln. Over time, I’ve learned not to get too upset when this happens, and it has given me a sense of resilience and determination.
Clay also encourages an open mindset because you can only progress if you fail. Learning to throw a pot on the wheel, for example, is incredibly difficult and frustrating—the pot flops, wobbles, and collapses. But with repeated practice and persistence, you will gradually improve. That process is incredibly rewarding and teaches patience, perseverance, and the value of embracing mistakes.
Clay also encourages an open mindset because you can only progress if you fail
How do you approach your own creative practice as a ceramicist?
I enjoy making objects that sit somewhere between art and functional pieces. My aim is to create meaningful objects that explore the interplay between still life, visual composition, and the social interactions they can encourage through use. Color drives my practice, and over my 25 years as a practitioner, I have developed thousands of glaze samples, which I combine into distinctive colour ways and palettes.
Since becoming a mother, it’s become harder to find time to make my ceramics, but when I go to my studio now, it feels very special. Being fully immersed in a day of making is deeply satisfying for both mind and soul.
Looking at emerging ceramicists today, are there any trends or approaches that excite you?
I think there is an increase of artists working with clay today who don’t have any formal ceramic training, and this feels quite free and liberating—breaking down the art/craft debate that has long surrounded the medium.
In the UK and Europe, I’ve noticed a trend toward performative uses of clay, as well as a fascination with materiality, such as highly experimental, textural or “gloopy” glazes. Artists are creating increasingly large works that are truly mind-blowing in scale. There are subversive themes and political messages alongside beautifully crafted tableware for the home.
I like how clay can encompass all of these things while remaining a humble material at the center of it all.
For someone just starting out in ceramics, what advice or encouragement would you offer to nurture both skill and creativity?
Be patient—skills take time to develop and grow with practice. Always enjoy what you do and don’t feel pressured to follow trends or be something you are not. The most important thing is to stay true to yourself and your own creative voice.
