Sustainability

At Polli Pots, sustainability is not a separate initiative. It is built into the way each piece is made. As a one-person studio based in Denmark, every decision is intentional, slow, and closely considered.

Ceramics are produced in small batches or made to order, never mass-produced. I keep no large inventory, only a few samples, so everything created already has a purpose and a future owner. This approach eliminates overproduction and unnecessary waste, and it allows many pieces to be made to individual requests.

Energy use is carefully planned. During summer, my kiln is powered by electricity generated from my own solar panels. Firings often take place at night when wind conditions are favorable, using 100% Danish wind power. Water use is also reduced by working with collected rainwater whenever possible.

All clay is recycled. Leftover clay from throwing, trimming, and even handwashing is collected, dried on plaster boards, re-wedged, and reused. Some of it becomes entirely new forms such as functional objects or tools. Pieces that do not meet first-quality standards are sold as second-grade works rather than discarded.

Materials are chosen with longevity and responsibility in mind. I work with English-produced clay and Danish-made glazes that are EU-approved and free from lead and cadmium. The glazes are developed to be durable and stable, designed to last for many years of everyday use.

Packaging is kept minimal and reused whenever possible, favoring recycled materials over new ones.

Polli Pots ceramics are made to last. They are objects meant to be used, kept, and lived with. When cared for, ceramic pieces rarely break unless dropped, making them a long-term alternative to disposable goods.

Every piece is made by hand, by me, in Denmark, thoughtfully and with respect for both material and process.

Step 1

Preparing the Clay

Every piece begins with raw clay. The clay is weighed and wedged by hand — a process of kneading that removes air pockets and aligns the particles. Proper wedging ensures structural integrity and an even texture.

Clay is chosen for its plasticity, strength, and firing behavior. The body must complement the intended glaze and temperature.

Step 2

Forming the Piece

The clay is shaped either by wheel-throwing or hand-building.

  • Wheel-throwing involves centering the clay on a rotating wheel and drawing the walls upward through controlled pressure.
  • Hand-building may include coiling, slab construction, or sculptural forming.

At this stage, proportion, wall thickness, and balance are established. The form is refined while the clay remains pliable.

step 3

Trimming and Refinement

Once the piece reaches a leather-hard state (firm but still workable), it is trimmed.

  • Excess clay is removed from the base.
  • The foot is defined.
  • Edges and surfaces are sharpened or softened.

Handles or additional elements are attached at this stage, requiring careful scoring and slipping to ensure structural bonding.

step 4

Drying

Pieces must dry slowly and evenly. Rapid drying causes warping or cracking.


Drying can take several days depending on thickness and humidity. The goal is complete evaporation of physical water before firing.

step 5

First Firing (Bisque Firing)

The dried piece is fired in a kiln, typically between 900–1000°C.

This transforms fragile clay into ceramic through a chemical process:

  • Organic materials burn away.
  • The clay becomes porous but permanently hardened.

After bisque firing, the piece is durable enough to handle and glaze.

step 6

Glaze Development and Application

Glaze is a mixture of minerals and oxides that melt during firing to form a glass-like surface.


Developing original glazes involves:

  • Testing mineral combinations
  • Adjusting silica, alumina, and flux ratios
  • Firing multiple samples to evaluate texture, tone, and surface reaction


Application methods include pouring, dipping, brushing, or layering. Thickness and interaction with the clay body influence the final result.

step 7

 Glaze Firing

The glazed piece returns to the kiln, often at higher temperatures (1200–1300°C for stoneware).


During this firing:

  • Glaze materials melt and fuse.
  • Color develops through oxidation or reduction.
  • Surface variations emerge based on heat distribution and kiln atmosphere.

No two firings are identical. Subtle shifts in temperature or placement produce nuanced variation.

step 8

Cooling and Finishing

Cooling must be gradual to prevent thermal shock.

Once removed from the kiln:

  • Bases are sanded smooth.
  • Each piece is inspected for balance, finish, and surface integrity.

Only pieces that meet aesthetic and structural standards are released.

Handcrafted in Denmark

Ceramics shaped by years of practice, celebrating timeless form, intention, and individuality.