What happens when we approach our artistic development not as lightning-bolt inspiration but as intentional practice—exploring the minute details that fascinate us while carefully choosing which external voices we allow to influence our work? Throughout her 23-year career, Martha Grover has done just that, and the iconic look of her distinct thrown and altered porcelain vessels reveals how a pragmatic approach to the mystical journey of finding your creative voice can often be the most sustainable approach. In this episode, Martha shares the realities of being a studio potter in 2025 and how that actually looks like balancing her time between many different roles. Whether it be teaching workshops, running a community studio or maintaining her own making practice, Martha demonstrates how “success” for artists today often means deciding what is enough rather than giving in to constant growth. Even when you have a 101 person waitlist. Could the clarity to set these boundaries be what allows your unique artistic voice to thrive both creatively and financially?

We are back! Season 3 of the Maker’s Playbook podcast kicks off with Adam Field! In this episode, Adam and I dig into how he managed to say yes to a multi-year residency program at the Archie Bray with 2 kiddos in tow, how he integrates social media into his studio practice, and the vulnerability it takes to change the style of our work when also making a living from that work. This is a conversation I know I personally will be returning to frequently.

This week I’m chatting with woodfire potter, Simon Levin. A self-proclaimed “evangelist of clay” who continually finds ways to bring educational resources outside of the traditional structure to the clay community.

After over 30 years working as a full-time studio potter, there were almost endless subjects we touch upon in this conversation that could be entire podcast episodes onto themselves - How to make what you want first, and market second, the difference between craft and art, and so much more.

As makers, we often envy others' seemingly polished creative lives without seeing the winding path they took to get there. AnnMarie Cooper's journey from gallery employee to pottery gallery owner, cohorts program manager, and shared studio founder reveals how real artistic careers evolve through countless iterations - from taking community college classes and working in an 80-square-foot backyard shed to finding her voice through unexpected owl designs. Her story reminds us that the current stage of any maker's journey was built on multiple transitions, space adjustments, and boundary-setting exercises that responded to both creative and family needs. Behind every Instagram-worthy studio or established gallery lies years of gradual growth, experimentation, and community-building that transformed initial passion into sustainable creative practice.

Here on the podcast, we often talk about the delicate balancing act between creative fulfillment and business sustainability - a struggle that can feel overwhelming without guidance. What if finding the right mentor could be the pivotal moment that transforms your creative practice and career trajectory? When Lisa Orr sought out Betty Woodman as a mentor, it completely shifted her perspective on materials, giving her permission to pursue colorful earthenware despite the stoneware-dominated ceramics world of the 1980s. Through her journey from studying with established potters to international research and eventually becoming a mentor herself, Lisa reveals how these relationships provided not just technical knowledge but practical business skills alongside the confidence to challenge current assumptions. Could the difference between struggling in isolation as an artist and building a sustainable decades-long pottery career be found in actively seeking mentorship and finding your creative community?

We spend so much energy measuring success by how visible or "full time" our craft looks from the outside, but the version of making that actually sustains you might look completely different from what you think it should. Over the last 5 years, since we first interviewed Camille Beckles (of Camille at the Wheel), on our debut episode here at the Maker’s Playbook, Camille has had the opportunity to say yes to the most exciting, challenging, and community-driven ceramics opportunities of her career. And it's her full-time job that gave her the freedom to do it. When survival isn't on the line, your art gets to be whatever you want it to be. Could releasing the pressure to monetize everything (and leaning into what genuinely sustains you) actually be the most serious thing you can do for your creative practice?

Today on the podcast we have part one of a live episode to celebrate the 10th anniversary of the podcast. I was joined by Carole Epp and Britta Schroeder, as well as a live audience on Zoom. Many thanks to everyone who came to the taping and helped us celebrate. In this episode we talk about our favorite episodes and how making gives our lives meaning. To celebrate our anniversary, we are also having a fund drive. If you are able, please visit www.talesofaredclayrambler.com/donate to make a pledge through our PayPal portal or you can make a monthly pledge at patreon.com/redclayrambler.

Sarah Pike on Tales of a Red Clay Rambler Episode 380: touching clay with clarity and intent

Tales of a Red Clay Rambler: 514: Lisa Orr on developing psychedelic low-fire glazes. Lisa Orr started working with low-fire ceramics decades ago, moving through majolica before developing a unique psychedelic color palette. In our interview we talk about matching thermal expansion of clay and glaze, side stacking glaze wares, and developing aventurine glazes

Tales of a Red Clay Rambler, Lisa Orr on the influence of Betty Woodman, color synesthesia

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Simon Levin, David Roswell, and Polina Miller. Levin created the Clay Cohorts program in 2021 to provide artists a place for mentorship, education, and community. The program blends online learning with in-person workshops to help students stay motivated in their own creative practice. In our interview we talk about David and Polina’s experience in the program and how it is shifting as Simon welcome two new instructors to this year’s cohort. For more information visit www.cohorts.art.