Studio Lead Spotlight - John Minkler

Meet JOHN - MAIN Clay Studio Lead

What drew you to this art form?

I started ceramics back in high school. I always knew I wanted to work with my hands, and we had a really solid ceramics program—so I gave it a shot. I had a knack for it from the beginning. Looking back, I think I was drawn in by the therapeutic nature of the work, even if I didn’t realize it at the time. Watching someone throw clay was mesmerizing, and I just had to figure out how to do it myself.
 

What’s your favorite thing you’ve ever made?

It’s probably this one cocktail glass I fired in a soda kiln. It has this incredible surface—no glaze, just ash and fire doing their thing. I use it all the time. Every time I pick it up, I notice something new. The way it feels in the hand, the way the kiln left its mark—it tells the story of exactly where it sat during the firing.
 

How did your parents feel about you becoming an artist?

They actually supported me. Maybe a little reluctantly, but they did. I’m definitely the black sheep of the family—one of my brothers went into the family business, and I did this. But they saw that I found something I really cared about, and I think they respected that.
 

Favorite class to teach?

I really love teaching beginners. There’s something amazing about watching that moment when a student gets it—not because they memorized steps, but because they felt the clay respond in their hands. That kind of learning is so personal, and it’s different for everyone. Watching people progress over time from beginner classes to more advanced ones is incredibly rewarding.
 

Where should someone start with clay?

Honestly, just take a beginning class. Whether you’re into wheel throwing or handbuilding, you’ve got to start somewhere—and a group class is a great way to jump in. You’ll learn by doing, and you’ll learn from the people around you. I usually recommend starting with the wheel because it teaches you how to really feel what the clay is doing, but it’s not for everyone. Sometimes people try it, take a break, and come back to handbuilding later. It’s all part of the process.
 

If you weren’t working in clay, what other medium would you explore?

Probably furniture making. Carpentry, something in that world. I like things that involve form and function—and still let me use my hands.