New York City–based artist Shira Berg returned to ceramics in her mid-twenties, after what she calls a “bout of soul searching.” Now, she’s built her practice around shaping clay into pieces that feel both intimate and alive—pieces rooted in texture, travel, intuition, and a deep love for the beautifully imperfect. With a new collection of tabletop objects (just in time for the holidays!), her work brings form and function together beautifully. We sat down with Shira to discuss the evolution of her craft, the inspirations behind her new collection, and the comforting rituals that shape her holiday season.

When did you first discover your love of ceramics and pottery?
I’ve always been very particular. As a kid, everything had to be clean, tidy, and in its exact place. Ceramics is the total opposite of that, which is why I resisted it at first. I took my first ceramics classes at summer camp when I was nine, and I honestly hated how messy and unpredictable it was. 

But over time, I grew to love the imperfections. I loved how the clay felt in my hands and the rush of accomplishment that came with finally centering something on the wheel. I lost touch with ceramics in college, but after I graduated, I found a studio near my home as a calm, grounding escape from the noise of everyday life. I’ve been working there for over nine years now. 

What is your creative process like? Where do you find inspiration, and do you sketch out your ideas first, or just start creating with the clay?
My process usually starts with a feeling. I journal a lot. Not just sketches; I’ll also write notes on textures and moods. I’ll go back every so often and look at the consistency in the drawings and notes, and those become the starting point for new pieces. 

I love nothing more than traveling and visiting local artisans in their studios and shops. Seeing and learning how other people create is a huge source of inspiration for me. In the last few years, I’ve visited artists’ studios in Kyoto, Milan, London, and Tel Aviv, met for coffee with people from Australia when they’re here in New York, and become friends with fellow potters and other creators all over the world through Pinterest, Substack, and Instagram. Once I’m in my studio, my sketches become loose guides – the clay always has a mind of its own, so the final form evolves naturally. The blend of intention, spontaneity, and prayers to the ‘kiln G*d’ is what I’ve grown to love the most. 

Tell us about your new collection. What are the noteworthy pieces?
This collection brings the warmth, femininity, and softness of my sculptural pieces into functional objects. Everything is meant to feel inviting and lived-in, with organic white glazes, ribboned edges, botanical lines, and shapes that almost feel like a hug. Growing up, my grandmother kept her beautiful furniture covered and had separate plates for the kids, and while I definitely inherited some of her meticulousness, the heart of this collection is the opposite. I wanted to make beautiful pieces that people actually use and enjoy.

There are oversized pasta bowls, a cake stand designed for stacks of warm croissants, vases that bring a sculptural presence into everyday life, and my absolute favorite: ‘Le Lamp.’ She’s the piece where sculpture and function truly meet, and she comes in two sizes, large and small.

What do you love most about hosting at the holidays? 
There is nothing I love more than being at home, cozy, with my family. Growing up we would have pajama days and start a fire and watch movie marathons. I love emulating at feeling at my own house. Movies, tea, and a big bowl of pasta served in my ribbon serving bowl. 

Hosting is my way of bringing people into that comfort. To me, the holidays are all about simple pleasures – a movie, tea in one of my two-toned mugs, and a big bowl of pasta in a ribboned serving bowl. It’s those small, grounding traditions that make the season feel special.