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Antoinette with potters who are attending a hands-on porcelain workshop her Mississippi studio.

Antoinette is having a discussion with Nancy Jones, one of the workshop participants, while the other potters are working.

​Have you heard potters talking about porcelain as if it is the hardest thing in the world to master? Just a few days ago, I saw a fairly renowned potter making the comment that porcelain is “difficult to work with.” I immediately contradicted the potter by telling him that my grandchildren worked with porcelain from the first day they started playing in my studio.
Of course, that is an oversimplification, because everything these, and the many other children who found their way through my studio made was either recycled, or, if it did make it through the kiln, it went through my hands first.

Learning to Understand the Clay Medium

​If this potter had said that porcelain is a different medium and that anyone who wants to work with it must first understand how it differs from other types of clay, I would have agreed.
Many potters have tried to work with this diva and given up when they discovered that what goes into the kiln may come out as something very different. Then there are the potters who work with the clay successfully but work with it as if it is a regular stoneware clay body.
Antoinette is showing an altered porcelain pot and how she begin the first outlining, before carving the detail.

Altering and the carving of a wheel thrown porcelain pot.

What You’ll discover During the Week

​During a week-long workshop in my studio, we begin with an informal visit around some porcelain works that I have collected over the years. We discuss and share some experiences and simply get to know each other. Throughout the week, we use our discussions to build on each potter’s expectations.
In the past, I have had potters with minimal experience with porcelain, but I have also had some with many years of experience. To cater to these potters in a way that allows both to experience a good week of learning is easier than it may sound, because I connect individually with each one and meet them at the level where they are.
Normally, when I get experienced potters, they are ready to push their own limits, but they do not know how. Too often, potters do not ask the “why” questions—something that I had to learn the hard way.
My struggles with porcelain when I started pushing its limits put me in a position where I can bring the knowledge required to my students in a short week of intensive work.
The beauty is that most potters who leave by Saturday have learned way more than they expected, because they learned from each other too. 

Wheel Throwing and Handbuilding with Porcelain

​Normally I have some potters that prefer to hand-build and others that want to work on the wheel. Interestingly enough as the week progress, some potters want to switch and try the opposite techniques. My philosophy is that techniques and styles should never be boxed in. Working on both the wheel and hand-building, open so many more possibilities for each potter and I love that! See, during a week there are opportunities to learn technique, but also to expand our horizons with ideas. Afterall, ceramic art is not just a form of creating; it is a form of communication. When we mastered the craft, we can begin to communicate through it.  
 

Trimming Altering, Carving, and Refining

​Altering porcelain is a relatively new concept that became more widely practiced in the 20th century. It requires some knowledge of the behavior of the clay. Prior to that porcelain was considered a practical clay body, used for functional objects. 
 
Simple formed porcelain pots are beautiful, especially when it is translucent and when form and shape is well executed. For that reason, we pay attention to good form, trimming and finishing before we consider altering. From there the carving and refinement follow. By the end of the week each potter take at least one well designed piece of art back home.
 
Mastering these techniques can become quite emotional for some potters when they realize creating beautiful translucent porcelain objects are within reach! It gives them tools with which they can develop an individualistic style, and it connects with the idea of communicating through the work. Afterall a potters voice is just as strong as that of a sculptor or painting artist. 
Antoinette shows how she altered the rim of a large, shallow bowl and how she carves into the clay and refine it.

Altering and carving a large, shallow porcelain bowl.

Learning to Recognize and Solve Porcelain Problems

​There are not many ceramic studios that offer porcelain classes; even in colleges opportunities to learn about porcelain are limited. Potters told me before that the instructors are not always equip to teach them to work with porcelain. They are sometimes allowed to work with the material, but then they have to work things out on their own and it is not always successful. During my porcelain classes we make a deep dive into as many of the problems as possible. Potters make those mistakes in the workshop and the whole group learn from that and if we miss something, I encourage my students to stay in touch and share their problems via email. There is always a solution. The key however is that they learn to see the mistake as it happens and obtain the tools to avoid them in future. 

Who Is This Workshop For?

​If you’re an experienced porcelain potter who want to learn to push your own limits, this class is for you. Maybe you wanted to get your hands in porcelain clay all your life, but you’ve been told that it is too hard; I am sure I will be able to break that fear and all the other myths about porcelain that is out there. Even early beginner potters that know early on that they would want to work with the medium will find this workshop suitable, because I address the most basic principles, something that is often overlooked in a regular pottery class. Also; because the group is small, I can work with each student individually. 

Why Learn Porcelain in a Small Hands-On Group?
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With their pots finished and through the bisque fire the group have more questions and comments to make about their progress

This image was taken by the end of the workshop when the group were discussing the path forward and Antoinette was answering questions.

​Potters attending my workshops comes mostly from across the United States, however I had a few who came from other countries too. Despite the intense training and high volume of information, my workshops are relaxed and potters find themselves forgetting about the world and its problems. Because it is a small group setting, they get to know each other, and I’ve seen several becoming friends. This atmosphere allow potters give their opinions, about the work and to freely ask questions 

October 18–24, 2026: A Week to Discover, Develop and Improve Your Skills with Porcelain
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​I love teaching porcelain workshops.
The knowledge, techniques, and understanding of the medium resonate differently with each person and give them an opportunity to grow in their art. I’ve seen firsthand how potters discover the techniques that suit their style the best.
The love of throwing porcelain is always there, but as they discover that handbuilding, altering, or carving are complementary techniques, excitement for all the different possibilities happens.
Some will finally understand why their porcelain has been giving them problems. And some will simply discover that porcelain isn't as intimidating as they had been told.
For me, that is what a workshop is about—not just making pots for a week, but opening the door to possibilities.
On October 18–24, 2026, I invite you to join me in my studio in Saltillo, Mississippi, for a weeklong hands on workshop. We will be working, learning, experimenting, asking questions, making mistakes, solving problems, and discovering what porcelain can become in your hands.
Interested in joining me in Mississippi?