Craft and Comfort: Inside the Studio with Ceramicist Annabel Scanlen
For years, Annabel Scanlen's practice centred on illustration and photography. Then in 2019, during her Fine Arts Honours year, she started hand-building with clay. By 2023, she'd added wheel-throwing. Now, in her Sydney studio, ceramics sits alongside her graphic design, animation and architecture work.
'I get a real kick out of creating something practical and purposeful with my hands', she says. 'Ceramics feels exciting and distinct from illustration or photography. It's less voyeuristic, more tactile and grounded, yet still beautiful.'
Her creative approach is instinctual rather than formulaic. 'I honestly don't know where it comes from. I'm guided by balance and form. It's similar to composing a photograph: adjusting, refining and responding until the piece feels harmonious. My goal is to please that inner composition critic that knows when something just looks right.'
That search for harmony extends beyond the wheel. 'Clay has become an endless playground for creative experimentation. Lately, I've been making floral arrangements informed by Ikebana, using my own ceramics as the vessels. I've also been experimenting with beverages, making and serving drinks in my own cups and matcha bowls.'
'My recent work has also been deeply inspired by my time in South Korea, where I trained under Master Lee. The techniques I learnt from him have naturally woven into my practice, and I can't speak about my newer pieces without crediting him. That experience continues to inspire me.'
The rhythm of Annabel's studio practice shifts constantly. Some days are spent at the wheel, others glazing. 'No two studio days are ever the same.'
What remains constant: clay, water and long hours on her feet. For a practice that demands full presence, comfort matters.
'I hate feeling overheated or constricted while throwing. Breathable clothes and shoes make such a difference. If I'm not comfortable, I'll usually call it a day sooner than I should. It really affects my mood, focus and drive.'
For Annabel, a Birkenstock wearer for years, the Super Birki 2.0 earned its place in the studio. 'They feel secure and hug the foot, which makes moving around so much easier', she says. 'They're comfortable, easy to clean and waterproof. You can wipe them down to avoid tracking clay through the house. Plus they look great with fun socks. They exceeded my already high expectations.'
Ceramics demands more than skill—it demands endurance. Hours standing. Hands constantly wet. The willingness to start over when a piece fails. You can't rush a firing. You can't force clay to do what it won't. In her Sydney studio, Annabel works within these constraints, building a practice that respects the material, the process, and the physical demands of both.
