Founded by artist Faye Twinn, Twinn Pottery brings us beautifully hand thrown natural ceramics. Faye's work evokes a sense of cosiness, warmth and grounding and has been built on an understanding that we need to live slower for our plant and our well-being.
Having grown up in Cornwall and Devon, studying sculpture at Falmouth University and a successful career as a fine art teacher, Faye decided to set up her pottery business full time. Now working from her home studio in Essex, we got in touch with Faye to find out more about her small business journey...
What inspired you to get into pottery?
Growing up, pottery always felt a little aloof yet was constantly present around me in educational settings, and I dabbled with it while studying fine art in my teens and twenties. I quickly learned it could be an expensive pursuit that demanded significant time and space to refine - wheels and kilns were difficult to access and costly to buy. After a successful career as an art and fashion lecturer, and when I had a baby in my mid‑thirties, I decided to take some time to reconnect with my own art practice. I treated myself to a second‑hand wheel and a hobby kiln, which I set up and used in our tiny spare box room. I quickly became obsessed: finally having that consistent space and time allowed me to develop a craft that would ultimately change the direction of my life.
Is there an artist or maker you admire?
There are many, as I am an art history geek…I love so much in the art world, from performance-based works to Renaissance painting and, of course, the tiny details in artisan pieces. But a particular maker that I have admired for years is Sage Cortez, a potter and tool maker who works from an incredible barn-style studio on her beautiful homestead in Oregon. The earthy tones, the surrounding environment, and the thoughtful way she documents her work and lifestyle never fail to inspire and motivate me.
How is sustainability built into your practice?
With sustainability being a bit of a buzzword these days, I think it’s useful to explain where the word came from and how I personally understand it. In 1972 John Elkington coined the term, using it as an umbrella concept to describe the integration of social, economic and environmental values. Those considerations matter deeply to me in my pottery practice and run through everything I do—it’s a deep commitment. For example, I know cobalt is environmentally at risk and problematic in the way it is mined and used. That’s a big topic to treat lightly, so I won’t pretend it’s simple, but to me it comes down to knowledge and choices. I research my materials to their source and make eco‑conscious decisions that reflect my desire to be the change, while avoiding delusional expectations — I accept that it’s often a matter of choosing the lesser evils rather than being entirely without fault. So, while I endeavour not to use raw ingredients like cobalt in my work, I’m also aware that such materials are part of many everyday items, from phones to batteries. Awareness and accountability are key. I also think some people confuse the slow‑lived aesthetic with sustainable values; the two can overlap, but they aren’t necessarily the same.
Do you listen to music in my studio?
Yes I do! It’s mainly indie folk or surf souls like Ben Howard or Jack Johnson, though sometimes I mix it up and blast out some of my favourite heavier bands such as System of a Down or Incubus — I’m a lover of a good heavy metal scream. Mostly, however, I listen to audiobooks on neuroscience or well-being; this subject is a special interest of mine, and I really enjoy thinking deeply while I’m working. When I need some light relief, I play funny podcasts — my current favourite is The Handsome Podcast, which keeps me giggling at the wheel for hours!
What’s your favourite piece of pottery to make?
Ohh this is hard…I’m always torn between the wheel and hand-built…but if it’s a wheel day, then my favourite thing to make is mugs every time…I just really enjoy it as the muscle memory kicks in and I can spend a few hours getting lost in the gentle rhythm of forming a familiar shape. There’s also a quiet pleasure in seeing the shelves fill up with uniform pieces after a productive throwing session — that satisfying line-up feels like a small achievement. But if it’s hand building, I really love making vessels intuitively using the coiling method. Working this way lets me enter a deep flow state and calms my nervous system; the process is meditative and absorbing. I’m always telling myself to make more time for vessels, yet I find them harder to let go of — I get emotionally attached to many of them, which makes selling them a little bit difficult.
What's your idea of a cosy night in?
Well, it normally involves a proper scary series. I’m obsessed with things like American Horror Story, and I’m currently enjoying Crystal Lake on SKY. I love the drama of it all, and the cinematography is just gorgeous. Ideally, the evening would start with a home‑cooked meal, normally a veggie hot pot of sorts… basically anything with sweet potatoes or chickpeas. I’d eat this early and then do the bath and bed routine with my little boy. I turn on his fairy lights and listen to him read for a while before having a sweet little debrief with him about his day. Once he is settled and drifting into dreams, I light the candles downstairs and snuggle up under my favourite blanket on the sofa to watch my series of the moment, usually with my husband and perhaps a scoop of pistachio ice cream. To me, the perfect night in is the everyday version: my phone on silent, soft lighting, cosy company and no surprising interruptions.
If you'd like to take a look at Faye's work you can shop the collection here.