Summer In the Studio: Shaping Sculptural Stories

Despite the 110+ degree summer heat here in Phoenix, my studio has been buzzing with energy, ideas, and clay-covered hands. What began as a simple experiment with four wheel-thrown, donut-shaped forms quickly turned into a deeper exploration of shape, meaning, and story.

This summer has been all about pushing boundaries between form and function, utility and expression. The extreme desert heat seems to have lit a fire beneath my practice in more ways than one.

WIP: Ceramic Donuts

Donut Forms: A Starting Point for Creative Exploration

I started the season with a series of donut-shaped ceramic forms. Simple, hollow rings thrown on the wheel. These were initially light-hearted, even playful experiments. But as I spent more time with them, each form began suggesting its own transformation. I followed that lead.

Suddenly, they weren’t just forms anymore. They were sculptural vessels of narrative. Objects that told stories about travel, resilience, culture, and nature.

This exploration has reinforced something I’ve long felt: the sweet spot in my practice lives in the in-between. Those works that don’t quite fit neatly into functional or purely sculptural categories. They live at the intersection, serving as vessels in both a literal and metaphorical sense.

Featured Works:

Here are a few pieces that emerged from this summer’s explorations. Each one a chapter in an evolving story told through clay, glaze, and fire.

Timekeeper

Timekeeper started as the largest donut form I’d thrown. I let it sit on a shelf for a couple of weeks until I finally saw something emerge. The curved sides began to look like hands reaching upward. I followed that impulse and reshaped it into a vessel that holds both stillness and lift.

It’s fully hollow, open to hold light, candles, or flowers. I used one of my favorite stone-like glazes to give it the look of carved rock rather than clay. It feels both ancient and modern. Somewhere between artifact and sculpture.

Sanctuary

The second half of that same large donut form also evolved into a pair of hands. But this time, they were made to hold a dove.

The dove, a universal symbol of peace, is also a quiet tribute to Picasso, an artist who has long inspired my work. Once the bird was in place, though, the piece felt unbalanced. I needed something else, something local.

The cactus bloom, of course. Living in the Sonoran Desert, I’m constantly struck by the way survival and beauty intertwine. The bloom added that layer of meaning and brought the composition into harmony. Sanctuary became a story not just of peace, but of place, resilience, and hope.

Ani and Gatherer

Sometimes, the kiln has its own ideas.

Ani was originally meant to be a symmetrical figure, but a small explosion during the firing process left him without an arm and leg. I had forgotten to vent the piece. An oversight that cost his limbs, but gave him a new, unexpected life.

Rather than discard him, I embraced the accident. I glazed Ani anyway, added moss and air plants, and found beauty in the brokenness. The name Ani comes from the Tagalog word for “harvest,” which felt fitting for this piece. A figure stands strong, lifting a large basket overhead, ready to receive what the season brings.

Before Ani was even finished, I began work on a second version, Gatherer, this time with plenty of vent holes. The kiln gods smiled on this one. I glazed it in a shifting blue-green patina that looks like weathered marble, with layers that catch the light differently depending on where you stand.

They now sit together, side by side. One shaped by chance, the other by intention.

Jaleo

Jaleo is a tribute to rhythm, movement, and the vibrance of Spanish culture. Inspired by a flamenco dancer I saw performing in Málaga, this piece holds the sharp click of heels, the whirl of a skirt, and the heat of the Costa del Sol.

The form curves and twists like a dancer mid-turn, with one sweeping arm reaching upward in a bold, expressive arc. Glazed in golden tones and matte black, it radiates warmth and motion even while standing still. It’s my attempt to capture a fleeting moment of expression. Forever held in clay.

Spotlight: From Shed to Studio – Featured on Redfin

Back in June, I had the pleasure of contributing to a feature on Redfin’s blog, exploring how artists are building creative spaces at home. I shared the story of how I transformed our simple backyard storage shed into the light-filled studio where I now work.

It was a super fun and different kind of collaboration for me. I loved sharing the process, from space planning to lighting. Every detail was considered to support how I move and work. The space has completely changed not just my workflow but also how I feel when I’m creating. Thank you, Redfin, for this opportunity!
👉 Read the full article on Redfin


Save the Date: Willo Art Walk + Open Studio

I’m beyond excited to announce that I’ll be participating in the inaugural Willo Art Walk this fall!

Willo Historic District, Phoenix
Saturday, November 8
Start time: TBD

The Willo District is one of Phoenix’s most artistic and eclectic neighborhoods, and I feel lucky to call it home. This November, we’ll be celebrating our community’s creative spirit with open studios, live art, and more.

I’ll be opening the doors to my studio during the event, so if you’re curious to see these pieces in person (and others still in progress), come by. I’d love to talk process, share space, and connect.

If you can’t make it to the event but would still like a tour, just reach out. I’d be more than happy to show you around.


End of Summer Studio Notes

This season has been one of unexpected turns from kiln explosions to sculptures shaped by rhythm and silence. It’s reminded me that creativity doesn’t always bloom in ideal conditions. Sometimes it emerges right in the middle of the heat, the pressure, the crack, the bloom.

These works have helped me explore not just clay, but also the stories that emerge from our landscapes, our travels, and the serendipity of making. They’ve blurred lines, opened new possibilities, and deepened my love for this practice.

If you're curious to follow along, connect, or schedule a studio visit let's chat. Until then, stay inspired, stay curious, and may your own creative fires keep burning.


Travel Notes in Clay

Each place leaves its mark. Stirring new gestures, and reshaping how I translate experience into form.

Naoshima Island

Morocco

Egypt

Greece


Interior designers, art consultants and art collectors please reach out for a studio tour in-person or on Zoom.

Janette Harwell

Design-driven with a global perspective, Janette Eusebio’s work is inspired by many forms of design: architecture, interior, and textile to name a few — and heavily influenced by a lifelong wanderlust that has taken her around the globe. She derives great joy from exploring the world with family and friends, continually pursuing new cultural experiences and art forms. Both her Filipino heritage and love of nature are featured prominently in her work.

Janette is particularly drawn to textures, patterns, and organic forms that have movement, which inspires pieces that are both bold and refined. Working in clay has been a meditative, grounding journey for her.

In 1990, Janette graduated with a BFA in Communication Design from Otis/Parsons, a private art and design school in Los Angeles, California. From 1990-1997 she lived and worked in New York City as a graphic designer before relocating to Phoenix, Arizona. In 2004, she founded Stir Design & Advertising, which she continues to oversee today.

Every day is a new opportunity to create. Janette is a visual storyteller who excels in capturing a sense of place, a memory, or a feeling.

https://eusebioceramics.com
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