By Iryna Baisak

In my country, pottery has been a craft for thousands of years. In the place where I grew up, working with clay isn’t just an old tradition – it’s something alive, constantly evolving. Since childhood I’ve absorbed this unique mix of ancient heritage and contemporary ceramics, and over time it turned into my life’s work.

I believe pottery has huge potential in the modern world. Clay is a living material – it connects us with our ancestors, our history, and with who we really are. It listens, responds, and gently yields to your touch. Anyone who holds a piece of clay in their hands can feel what it’s like to be a creator.

I make functional objects that feel warm and cosy – mostly tableware and home pieces. For me, practicality comes first, but I’m also drawn to the beauty of simple lines and clear proportions. Balance never goes out of style. In today’s world of mass production, it’s easy to lose the artistic thread and start “churning out” work. Or, on the other hand, to overload works with symbols and concepts, forgetting their main purpose – the joy of everyday using. In my craft, I’ve learned to walk that line between utility and art.

One of my greatest passions is clay pitchers. For centuries in my homeland they’ve been used for water, milk and other drinks. The connection between earth (clay) and water has always been seen as sacred.

Pottery isn’t only about creativity. It’s also about precision, steady hands, and knowledge passed from one generation to the next. And of course, it’s about sustainability. I use an ancient method called milk firing. After shaping, the artwork is fired once, then soaked in milk and fired again at a lower temperature. This strengthens the clay, seals its pores, and makes it waterproof. It also gives the ceramics a warm, deep brown shade – always slightly unpredictable, depending on the heat of the kiln, the richness of the milk, and the timing of the process. This method is one of the oldest and most eco-friendly, since it avoids chemical glazes.

But it’s also a demanding technique, requiring patience and countless failed attempts before reaching the right result. Only after many skills are mastered and many imperfect pieces are made do you arrive at something that truly satisfies both: the maker and the person who will use it.

According to ancient beliefs in my culture, every vessel holds energy – a part of the soul of the first person who touched it. That’s why milk firing was not just a finishing method, but also a kind of protective ritual. Milk itself is a symbol of wealth, fertility, and the unity of earth and sky. When I work this way, I feel a connection to future generations. One day, I hope to pass on this knowledge by opening a pottery school for children and adults – so more people can discover this art for themselves.

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