International Workshops
& Retreats
Learn directly from me at hand-building ceramics workshops in beautiful studios around the world.
No wheel, no rules to unlearn. Beginners get it straight away. Experienced potters leave building bigger than they thought possible. I teach everything I know, from the Rolling Pin Method to Colour Secrets and my newest surface and colour decoration. You bring your hands. I'll bring everything else.
Two-Day Ceramics Workshop
Dubai | House of Raw
House of Raw, Al Quoz · 7 and 8 November 2026
Two days, two techniques. Day one, we build sculptural vases with the Rolling Pin Method. Day two, we bring them to life with Colour Secrets. Small group, all materials and firing included.
Spots are limited and filling fast.
WHAT PEOPLE SAY…
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“It’s nothing like glaze recipes. Colour started to feel intuitive, repeatable, and alive in my work.”
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“I finally understood bold colour in ceramics — not as recipes to follow, but as something I could actually work with and trust.”
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“It completely shifted my ceramic practice. I stopped guessing and started understanding what was actually happening with colour.”
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“I can’t believe how long I worked without this. It changed the way I think about colour and surface entirely.”
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“Colour stopped feeling like trial and error. I finally understood how to work with it in ceramics, rather than hoping for the best.”
It looks complicated. It isn't. It just took me a hundred broken pieces to find out.
Taught to students in 60+ countries. A true matte, opaque colour method, in any shade, the ceramics community said couldn't be done. It photographs beautifully, and it's even better in person.
The Rolling Pin Method
The Rolling Pin Method is a hand-building technique, not wheel throwing and not coiling. I developed it in my garage when a client commissioned eleven vases taller than I could throw at the time, and after more than a hundred cracked, collapsed and exploded pieces, it finally worked. It's one method that builds sculptural vases up to around 30cm, and combined with my slab coils, you can go even taller. No wheel, no special equipment, just a rolling pin and your hands. The full building process, plus carving and how to scale up your forms, is what I teach inside the course.
Colour Secrets
Colour Secrets is built on Mason stains, not commercial glazes, and not underglazes. It's a mother recipe: one method, one process, that works for any colour you want. Learn it once with one colour, and you can apply it to every colour after that. The full recipe and application process, and how to adapt it across your own palette, is what I teach inside the course.
It's also more affordable than it looks. Stains cost more upfront than commercial glaze, but they go a long way, and once you factor that in, it works out cheaper than most premixed options, without giving up the finish.
MY STORY
I started my ceramics journey already wanting a blue that did not exist.
I bought every premixed glaze, every powder, tried underglazes, tested and tested, looking for a matte, bold blue that wasn't flat or muted. None of it worked, matte glazes are often translucent, they don't fully cover the surface, and the colour I wanted needed to be opaque, saturated, unmistakably bold. Eventually I stopped trying to force it and went back to raw clay, working only in black and white while I figured out what I actually wanted.
Then, after I gave birth to my son, I saw it. A blue vase, exactly as I'd always imagined it, clear as anything in my mind. I decided I would make it real.
I started testing. Mixing pigment directly into clay. Wedging it in. Mixing concentrated pigment into water and applying it to the piece in different ways, over and over, through years of failed tests and failed applications, until I found my formula.
That blue was the catalyst, the thing that drove me to develop the technique in the first place. But once I had the formula, I realised it wasn't really about blue at all. It worked as a method. The same process, the same recipe, adapted to any colour I wanted, bold red, saturated yellow, deep green, whatever I was after. It took years to refine, the recipe, the application, the many different ways the same technique could be used across every colour. And it's still evolving. I'm still discovering things about it today.