In this installment of our Meet the Makers series, we sat down with Gloria, our talented production manager and potter. From studying linguistics and Russian at Reed College to shaping countless mugs a week in our Hood River studio, Gloria’s journey into clay is a story of curiosity, craftsmanship, and community.
How did you first get into ceramics, and what drew you to the studio while studying linguistics at Reed?
I was studying linguistics and Russian at Reed and was eligible for a work-study job on campus. I could either work in the dining hall dish room or in the art studio—so the choice was pretty easy. I wasn’t an art major, so I couldn’t take formal classes, but I had 24-hour access and spent a lot of time figuring things out on my own, which is how I really started to fall in love with clay.
What made you want to pursue pottery after college?
By that point, I had been working in clay and tile production and just loved it—the material, the process, the rhythm. Production work really speaks to me. I like working at scale, getting better at doing the same thing over and over, and seeing that improvement in my consistency and skill.
How did you first hear about Wolf Ceramics, and what excited you about joining the team?
I don’t actually remember exactly how I first learned about Wolf Ceramics. I had been working at a tile company in Portland that I really liked in terms of the craft, but not so much the culture—I was the only woman in a shop full of older men. I wanted to do work I loved with people I liked, and Wolf immediately gave me that feeling. Moving from machine-heavy tile production to a studio where I could interact directly with clay felt like the right next step.
What does a typical day in production look like for you?
It depends on the week, but usually we throw the same shapes for a stretch of time. I try to do most of my throwing early in the week so I can trim later on. We all gather around the big table to attach handles and finish pieces together. There’s a lot of checking in—looking at what others are making, sharing tips, and helping each other out.
Do you have a favorite form to throw?
I really like making the matcha bowls. It’s the only form we make with a foot instead of a flat bottom, so trimming it is a little more sculptural. It feels like a nice change of pace from the more straightforward shapes.
What’s something about production pottery people might not realize or appreciate?
How much of it is time management! The seasons really affect the process—one part of the year you’re fighting to keep things wet, and the next you’re trying to get things dry. And also: how many audiobooks we go through as a group. Every winter after Halloween, we start listening to the Harry Potter series. I’m not the biggest fan personally, but it’s really comforting—it’s become our annual ritual.
Does your background in linguistics connect to your approach to craft at all?
Honestly, not much anymore. I still listen to the news in Russian sometimes, but it’s mostly just a personal interest. I started learning Russian as part of a school district program in Maryland—it was kind of a pilot program experiment, and I don’t think it exists anymore haha. But I do think studying languages helped me learn how to pay attention to small patterns and details, which maybe overlaps a bit with ceramics.
What do you enjoy most about working with your hands every day?
I love being able to see what I’ve done at the end of the day. Eight hours of work equals eight hours of mugs right in front of me. There’s something really satisfying about that. I also throw on my own time, so it’s nice that my job makes me better at something I already love doing.
What has working in a collaborative studio taught you about ceramics—or about yourself?
It’s made me really appreciate the different backgrounds people bring to the same work. Everyone in our studio has taken a different path to get here, and yet we’re all sitting in one room making the same forms. There’s always something new to learn—a trick, a shortcut, or a new way to look at a process.
Do you have any local artists or potters you admire?
Yes! I really admire Chris Staley from Pennsylvania, and Linda Christianson and John McLaughlin—John’s local to Portland, I think. They all do wood-fired work, which I love. With wood firing, you can skip glazing because the wood ash creates this beautiful, organic surface. It’s unpredictable in the best way.
What’s your favorite Wolf Ceramics piece to make—or to use at home?
I love the short stack mug, it's definitely the one I always reach for and I’ve really enjoyed working on the teapot project we’ve been developing.
How do you like to spend your time outside the studio?
I love to swim. I’m on an adult swim team, which keeps me in the pool during the winter months. I also make my own pots outside of work, and I teach classes at the community studio downstairs. One of my classes right now is for total beginners. Since I never got that kind of instruction myself, it feels meaningful to help others start their clay journey with the guidance I wish I’d had.
What’s one small ritual or joy that helps you through a long studio day?
I always take a tea break. I squat down and drink it slowly—because we spend so much time sitting and contorting our bodies, it's a good way to realign and take a minute to stretch. And in the winter, I walk to the grocery store to buy an orange and eat it back at the studio. I only buy one at a time so I have to walk back the next day for a new one. It's all about the journey, you know?
Any advice for someone just starting out in ceramics?
Don’t be hard on yourself. Everyone makes weird, lumpy pots. Try to practice detachment—sometimes it’s good to cut through a piece to see what went wrong, and sometimes it’s nice to just fire it and see it through. I actually found my first pot recently—it’s horrible! But I’m so glad I kept it.
What’s next for you in your craft journey?
I’m not totally sure yet. I don’t want say something out loud and have it not happen! Before joining Wolf, I worked for a couple of months at a craft school in Southern California called Idyllwild Arts, in a program called H.O.T. Clay. It’s like an adult craft camp, and it was such an incredible experience. I just want more people to know about it—it’s such a cool opportunity for anyone passionate about clay.