In the historic Trinity House storehouse near the harbor of Penzance, a coastal town in southwest England, Jack Doherty, the artist behind Doherty Porcelain, crafts unique ceramics. His work combines intense kiln heat, soda, and clay to create pieces with soft, muted colors, a glossy sheen, and a signature hand-textured finish.

Believing in the power of “beautiful and functional everyday objects,” Doherty has earned recognition through multiple museum exhibitions and awards. His seemingly rugged yet refined works continue to captivate many.

In 2025, Doherty Porcelain’s Black Stoneware Collection will be introduced in Korea. We spoke with Jack Doherty to learn more about his journey.

@dohertyporcelain

Urbanic (U): Can you introduce yourself and Doherty Porcelain?

Jack Doherty (D): Doherty Porcelain started as a creative partnership between curator and exhibition planner Sarah Frangleton and myself, an artist and designer. I studied ceramics at Ulster University and worked at Kilkenny Design Workshops in Ireland before opening my first studio. My journey as a ceramicist began after visiting Lucie Rie’s London studio, where I saw a stunning Korean moon jar. That moment sparked my deep curiosity about ceramics and set me on this path.

U: If you had to describe Doherty Porcelain in a few words?

D: Authentic, contemporary, and unique.

U: What makes Doherty’s techniques and finishes distinctive?

D: Instead of using traditional glazes, I apply clay slip and mineral mixtures to my pieces before firing them in a soda kiln. During the firing process, I spray a baking soda and water solution into the intense heat, which reacts with the clay and minerals, creating organic colors and textures.

U: Can you tell us about the Black Stoneware Collection that will be introduced to Urbanic customers?

D: The Black Stoneware Collection is a contemporary ceramic line blending traditional materials, unique techniques, and modern design. Each piece is handmade for both everyday use and special occasions. The collection includes drinkware with a comfortable grip, stackable bowls designed for easy pouring and serving, and elegant wide-rimmed plates.

While the collection maintains a cohesive aesthetic, the kiln-firing process ensures that every piece is one-of-a-kind. A customer once described it as “a collection that fits just as beautifully in New York as it does in St. Ives.”

U: Is there a city that inspires you or reflects your ceramics?

D: St. Ives, a coastal town in Cornwall, has been a major inspiration. Its turquoise waters, golden light, and artistic heritage have influenced countless creators. I spent five years as lead potter and creative director at Leach Pottery, founded by Bernard Leach and Shoji Hamada in 1920. The town’s maritime history and need for practical, functional forms shaped my work.

If I had to name a city, it would be London - a vibrant global hub where diverse cultures, food, and ideas coexist while maintaining a deep-rooted history and tradition.

U: Are there artists or cultural influences that have shaped your work?

D: The most significant influence is Lucie Rie. Visiting her studio as a young student convinced me to pursue ceramics. Her ability to seamlessly integrate both ancient and modern pottery into daily life fascinated me.

I also admire Constantin Brancusi, a Romanian sculptor known for stripping forms down to their essence. His work, inspired by ancient cultures, emphasizes simplicity while maintaining profound depth.

Additionally, my exposure to prehistoric British and Irish cultures taught me that ceramics can hold spiritual and emotional meaning beyond their practical use. My experiences in Japan, China, and Taiwan further enriched my approach to ceramics.

U: What is the most crucial stage in your ceramic process?

D: Firing in the kiln is the defining moment. I shape each piece using traditional techniques—throwing on the wheel, hand-sculpting, and carving—but the kiln’s fire brings them to life.

I fire my ceramics only once, using an intense 1,270°C heat that requires careful control. Spraying the soda and water mixture at the peak of firing determines the final surface and color. Each piece must be delicately positioned on three small clay supports inside the kiln, and the process takes 15 to 16 hours of manual supervision. Opening the kiln to see the results is always an exhilarating moment.

U: What do you find most enjoyable about ceramics?

D: Handmade ceramics are special because they combine natural materials and craftsmanship. I love feeling the texture of raw clay and seeing the marks left by the potter’s hands. Great pieces come from bold experimentation, and the small imperfections remind us that they were made by hand, not machines.

U: What do you envision for your tableware in people’s homes?

D: While developing the Black Stoneware Collection, I realized that many handmade tableware designs still follow the outdated idea that European table settings must always be matching sets.

I designed this collection as a family-each piece is independent yet harmonizes with the whole. Every item has a unique surface and character, but together, they create a cohesive look. Well crafted handmade ceramics enhance everyday life, and I hope these pieces bring warmth to shared meals with family and friends.