Ceramicist, Steve Brown on carving in character, the importance of self belief, and The Great Pottery Throw Down.

If you watched series 8 of The Great Pottery Throwdown, you will have spotted ceramic artist, Steve Brown on your screen.

Turning out impressive makes such as a monstrous hell mouth fire place, dustmite encrusted raku pots, and for the series’ final, a Phonotrope animation inspired amphora, Steve week-on-week shared with the nation his natural flare for all things clay. This experience - he says - has accelerated his own pottery practice, which he now pursues full time.

With just over three-years of persistent pottery practice under his belt, Steve has centred his efforts on crafting functional, well balanced dinnerware. These are deliberately adorned with trimming marks and traces of the human hand.

Using high iron clay bodies fired in a Shino or Bracken glaze, each piece adopts a rich and varied palette of soft orange hues and sage greens, punctuated with fierce reds and smoky obsidian tones.

Carving individuality and character into each piece stems organically from Steve’s career in animation, which has taken him across the globe and included involvement in productions such as Harry Potter, Ready Player One, and more recently, ABBA Voyage.

His Phonotrope animation inspired amphora was nothing short of extraordinary, bringing a truly theatrical feel to The Great Pottery Throw Down’s final, which aired last Sunday night.

Phonotrope animation is a process whereby individual animation cells are placed on a rotating device, and when spun at the correct speed alongside the right number of frames, injects life and movement to once still characters. A fusion of film making technique, illustration and hard practised potting caused Steve’s hand-drawn characters of kangaroos, trombones and chickens to quickly burst into motion around the vessel.

In this exclusive interview, we chat to Steve about his creative career to-date - spanning animation and clay. He shares with us that his participation on the show was an adventure into self acceptance, bringing about a newfound belief in himself. What’s clear from our conversation is that, ultimately, Steve’s patience and perseverance with the craft has led to a successful career change in pursuing what he loves the most - making pots.

Steve, can you tell us what brought you to this material and method of making? 

“Following some childhood experimentation with air-drying clay, my real introduction to proper clay didn’t happen until I was an adult. It was back in London in 2018 when I came across a beautiful cup made by a Japanese ceramicist named Takashi Nakazato. As soon as I saw it, I fell in love with it and felt an immediate desire to learn how to create something like that.

“That’s when I decided to take an evening class, partly as a creative escape from the demanding world of VFX, where I had worked for over 25-years as an animator.

“The class was a ten-week throwing course in Hackney, and like many others, I became completely obsessed. I think the obsession came from the fact that working with clay is both incredibly challenging and the perfect combination of creativity and chemistry. There are so many possible directions to explore, whether it’s creating functional pieces, more abstract forms, or diving into sculpture and conceptual work, which I hope to explore one day.

“Although my work as an animator was creative, I was always directed by someone else’s vision, and there were so many constraints with CGI. Over time, I began to lose my passion for it and found the work increasingly relentless.

“Working with clay offered me a new sense of freedom and creativity, allowing me to reconnect with the joy of making something entirely my own.”


How would you describe your ceramics practice? 

“I create simple, functional dinnerware, mainly mugs, cups, bowls and more recently sake cups, vases and teapots. My goal is to make forms that are well-made, well-balanced, refined but loose, so embrace the beauty of the process.

"I love seeing the marks left by my hands, so my work strikes a fine balance between intentional and organically natural. I often leave visible trimming marks, and when bits of clay hang on, I press them into the surface, allowing my glazes to interact with the added texture. 

“Much like animation, I strive to breathe life into my work. I want each piece to have its own unique personality. My shino glaze plays a key role in dressing each form and enhancing its individual character, bringing an added depth and vibrancy to the finished piece.”

“You know how we can recognise a friend or family member just by their walk or the way they hold themselves? That sense of individuality and personality is what I strive to bring into my work with clay.”

What is Shino glaze?

“Shino glaze is a traditional Japanese pottery glaze dating back to the 16th Century, admired for its warm, earthy tones and distinctive surface effects, which can range from soft whites and oranges to deep reds and smoky blacks.

“Shino’s unique character comes from its sensitivity to application, kiln placement, and only works well when fired in a gas or wood reduced atmosphere where it can be starved of oxygen.

“Its unpredictable results and the delicate balance needed to achieve those rich variations make it both a challenging and rewarding glaze for potters to master.”

Tell us more about your career in animation

“I originally spent four-years studying illustration after going straight to art college at 16. Those were some of the most wonderful times of my life because it was the first time I was surrounded by artists, young adults who just loved being creative.

“It was this time in the late 1990s when computer animation became possible using software on home computers, and I saw a third-year student’s 3D animation. That moment changed my life. I remember speaking to my tutor that very day and deciding to change my course to Time Based Media, where I began learning animation.

“In my final year, I won a student award, and soon after, I moved to London to start my first job. Over the years, I have worked in Australia, Paris, Vancouver, and Valencia, but have spent most of my career in London working on films like Harry Potter, The Dark Crystal, Ready Player One, District 9, and more recently, ABBA Voyage and a John Lewis Christmas commercial. It was a wonderful 25-years, and I met some incredible people along the way.

“Over the last decade, though, the industry changed a lot. It shifted even more significantly after Covid and the writers' strike, which managed to wipe out a few studios due to the lack of work.

“The industry also became very saturated with animators, and with the pressure to produce films in less time, the work started to feel very factory-like. It is really sad, but in a way, it gave me the opportunity to focus on what I now truly love, which is working with clay.”

“Each of my pots can take on a distinct character - it might be a close friend, an old man sitting quietly in the corner of a pub, quiet, humble presence or an extrovert demanding attention.”

What creative influence do you think your background in animation brings to your practice? 

“Animation is all about breathing life into a character. I have drawn all my life and spent years studying and observing how people move and interact. You know how we can recognise a friend or family member just by their walk or the way they hold themselves? That sense of individuality and personality is what I strive to bring into my work with clay.

“I want each pot to feel alive, from the way it is thrown on the wheel, to how it is trimmed and refined, to the little bits of clay I choose to leave behind and the heavy trimming marks that remain.

“The glaze application plays a huge role too, interacting with the surface in unique ways. Finally, the reduction firing in the gas kiln brings it all together. Simply starving the kiln of oxygen can give a pot a completely different personality.


“This is what I am passionate about. Each of my pots can take on a distinct character — it might be a close friend, an old man sitting quietly in the corner of a pub, quiet, humble presence or an extrovert demanding attention. I love the idea that every piece I make carries its own unique spirit and story.”

“Stop overthinking and just go with your first idea, which can sometimes be the best one. Many happy accidents can happen this way.”

Being a maker on The Great Pottery Throw Down is no mean feat. It’s a steep and fast-paced learning curve in all things clay - in front of a nationwide audience. What were some of the lessons learnt from taking part in the show? 

“This was truly a chapter in my life that I cherish and will never forget. One of the most important things I took away from this experience was confidence, not only in myself as an artist and potter, but also in myself as a person.

"School was a struggle for me, and I lost my confidence quite early on. Even now, I still face challenges, but what The Throw Down taught me was not to worry about what other people think.

“Maybe it’s just an age thing, as I'll be 50 next year, and perhaps this self-assurance naturally comes with time. But being on TV was, in many ways, a way of proving to myself that I no longer need to be self-conscious and that I can just be myself in front of millions of people.

“I’ve come out of this experience a stronger person, and I now feel confident talking to people without worrying about their judgment. It’s been a transformative journey, and I am so grateful for the growth and the newfound belief in myself.”

“I often think of gardening as being akin to ceramics. We work with what nature provides, shaping it in our own way.”


What it was like creating in front of the camera? Is the creative process impacted in any way? 

“It was incredibly tough for the first few episodes, but you learn to ignore the pressure and just soldier on. Everything is twice as difficult because you are not only performing in front of the cameras, but the whole environment is completely unfamiliar and you tend to overthink, and mistakes are more likely to happen.

“That said, I must admit that after a few episodes, you do get used to it. The time constraints force you to stop overthinking and just go with your first idea, which can sometimes be the best one. Many happy accidents can happen this way.

“I know there are some negative comments about the show and how pottery should be this slow, meditative craft. But at the end of the day, why can’t we have some fun with it? Why not push it into a creative race against the clock and just see what happens?”

Let's delve into your background as a gardener. How does your close relationship with the land influence your pots? 

“I've always had a deep appreciation for the outdoors, and in my early 30s, I became fascinated with self-sufficiency.

“Over the years, I've brewed beer (even setting up a microbrewery in London, where I supplied my local pub), cured meats, made cheese, grown vegetables, and experimented with lacto-fermentation. The list goes on. My dream was always to buy an old house with a decent garden, where I could grow my own food.

“In 2014, my partner and I fulfilled that dream when we purchased an old cottage in rural Herefordshire. Growing vegetables and maintaining our garden is now a central part of our lives and takes up much of our time.

“I often think of gardening as being akin to ceramics. We work with what nature provides, shaping it in our own way. There’s something incredibly satisfying about getting your hands dirty and, at the end of the day, scrubbing them clean before sitting down with a few aches from the day's labour.

“That simple feeling of a hard day’s work, followed by enjoying food that came from our own garden and eating from bowls I made in my little shed, is something I truly cherish. It’s all about returning to basics. I don’t need anything more than just the simplicity and connection with nature, the earth, and the goodness it provides.”


How do you typically get inspired? 

“That’s a tough one. I can find inspiration in anything, but it’s mostly driven by other people’s enthusiasm and dedication to their craft. Their passion pushes me to achieve my own goals.

“Naturally, I’m deeply influenced by nature. I love the colours of hydrangeas as they slowly decay, the texture of tree bark, and the natural tones that nature offers. These colours are almost impossible to replicate, though I try my best.

“I’m also inspired by other potters, and I love visiting galleries around the UK. I always leave feeling motivated, eager to return to my wheel. It can be overwhelming in the best way.

“Every few years, I also make a trip to the V&A. It’s an incredible place, and I feel lucky that I can visit whenever I want since we still spend time in London, a city I love so much and have so many happy memories of.”


Which clay bodies and glazes do you prefer to work with? 

“I work with high-iron clays because they fire beautifully with my Shino glaze and what I call my Bracken glaze, which fires to a soft sage and breaks into a rusty orange over textured surfaces. Sometimes, I use a black clay with an oatmeal and white tin oxide glaze for a different look.

“This year, I’ll be developing my own clay body from raw materials, typically combining feldspar, sand for texture, and iron oxide for colour. I fire in a reduced atmosphere in a large gas kiln, and for me, iron oxide is essential in giving my work its unique character and personality.”

You’ve built a significant following on Instagram. What has been key to growing this community of yours online? 

“While there are certainly many negatives to social media, for me, it’s been a great tool. I strive to keep my posts interesting for both potters and non-potters alike. I aim to be authentic, avoiding the curated "perfect life" approach. I share things as they are, including some personal moments. It’s a balance I try to maintain, posting regularly to keep my followers engaged.

“I genuinely enjoy it, and it helps me reflect on my own goals, whether for the week or for the year ahead. I also love seeing what other artists are creating. Instagram has allowed me to connect with so many people who have now become close friends, some of whom I’ve had the pleasure of visiting in their studios.

“I have a passion for film, so creating videos has been a fun and creative outlet. Yes, it takes time away from pottery, but it also helps me connect with others and, let’s face it, it’s a vital tool for selling online. Pottery fairs are becoming increasingly expensive, and using social media to sell and promote my work has made it much more affordable and accessible.”

Following on from the show, what have you got in the pipeline?

“I have some big plans for this year, and I’m incredibly excited about what’s ahead. For starters, I’m working on a few commissions for a two-star modern Japanese restaurant in Soho, which I can’t wait to start.

"I’m also creating a collection of pieces for two galleries, which is a new venture for me. Alongside this, I’m aiming to push my work in new directions, experimenting with larger forms and developing my style.

“Later this year, I’ll be taking part in my first wood firing with a group in Nottingham. I’ve always wanted to try wood firing, so I’m really looking forward to seeing how my Shino glaze behaves compared to my gas kiln. I have a feeling the ash will bring a whole new dimension and personality to my work.

“On top of all this, I’m starting a YouTube channel where I’ll be sharing the next chapter, transitioning from a full-time 9-to-5 job to building my ceramics business. I’ll also be sharing techniques along the way. To launch the channel, I’ll be chatting with all the contestants from The Great Pottery Throw Down, discussing their experiences and future plans.

“So, there’s a lot going on, but I’m also committed to maintaining a balanced life with gardening and travel which for me, is the most important way or moving forward without burning myself out.”

And finally, what snippets of advice would you give to those keen to embark on creating their own pottery practice?

“The best advice for anyone wanting to get into ceramics is to start by enrolling in an introductory throwing or hand-building class. You’ll know within the first few hours whether it’s something you want to pursue.

“When you start throwing, avoid rushing to fire your first 500 pots. Instead, focus on practice: throw, recycle, and reuse the clay. Early pieces tend to be heavy and uneven, and they’re rarely worth keeping.

“Once you feel comfortable with forms and if glazing interests you, take the time to read up on glaze basics. Start by learning to make a simple clear glaze, then develop it into a white glaze, and gradually experiment with colours and effects.

“It’s a steep learning curve, but patience and perseverance will pay off.”

If you would like to discover more about Steve’s ceramic practice, click here.