How I secured pottery assistant roles and a few useful tips

A little context first.

In 2024, I assisted Laura de Grinyo of LADIO Ceramics in Ibiza for a short period.

Then in 2026, I assisted renowned Bizen artist Kazuya Ishida in Japan.

If you haven’t already, have a look at their work. Both artists have such unique and beautiful practices.

These experiences taught me things I would not usually have had access to through a standard pottery course.

I learned about design techniques away from the wheel, the reality of day-to-day studio life, production work, studio equipment, preparing for wood firings, the entire firing process, and how ceramics are cleaned, finished and prepared for sale afterwards.

They also showed me how much of an artist’s work happens away from the wheel. The experimenting, problem-solving, preparation and repetition are all such a huge part of the process.

The list honestly goes on.

So, how did I secure the roles?

Honestly? Both started with a polite, clear email.

There was no secret formula! Just respect, genuine interest and an open mind.

I briefly introduced myself, explained my experience with clay and asked whether there might be an opportunity to support them in the studio.

I did not go into either email expecting anything. I let the artists guide what might be possible and was fortunate that, in both cases, the timing worked and they had the space for me to assist.

Timing plays a huge part. Artists are busy, and sometimes whether they can accept help has very little to do with you.

A few honest things to keep in mind

Artists may not reply. Do not take it personally. They may be busy, travelling, firing, preparing for an exhibition or simply not have the capacity. A lot of this comes down to timing and luck.

Assisting is not always paid. Both of my roles were unpaid and worked more as a learning exchange. I know that being able to do this is a privilege and not something everyone can realistically take on.

Communication matters. I learned pottery in Spanish without really speaking Spanish, which was manageable in a class setting. Assisting is different. You may need to understand instructions quickly, use equipment safely and communicate clearly, so it is worth checking that you can understand each other before committing.

Safety matters too. I only approach artists who have a clear professional history, trusted connections or experience working with students and assistants. Look into where you are going, tell people your plans and trust your instincts. Safety first, always.

A simple email structure you can use

A thoughtful email can genuinely open doors. This is the structure I would use:

Brief introduction - Who you are, where you are based and how long you have worked with clay.

Why you are contacting them - Mention something specific you genuinely appreciate about their work, process or philosophy.

Your plan - Explain where you will be and your rough dates. Flexibility helps.

What you are open to - Assisting, observing, visiting the studio or simply receiving advice. Being open-minded can lead to opportunities you had not considered.

Relevant context - Share your Instagram, website, portfolio or a few images of your work. Keep it simple and do not overwhelm them.

A polite close - Thank them for their time and make it clear there is no pressure.

Kind, respectful emails can go a long way. Good luck 🧡