Behind the peaceful image of horses grazing in the Latvian countryside is a real number: keeping our herd of 4 came to nearly €40,000 this year. Here's the honest, line-by-line breakdown — from feed and farrier bills to sending two horses to "university" in the Czech Republic.

This July, four potters joined us for an immersive journey into ceramics in the Latvian countryside.

This June, four potters joined us for two immersive weeks of clay and creativity in the Latvian countryside.

A new hospitality project takes our ceramics to Switzerland — 60 handmade place settings for Amtshaus restaurant, featuring our Yutori collection in black and white alongside our classic elongated serving plates in the Stone glaze.

A recent wholesale project brought 160 handmade porcelain plates from our rural Latvian studio to a restaurant in the USA. Finished in our soft beige matte SAHARA glaze, the collection reflects a growing desire for quiet, timeless dinnerware designed to support food rather than overpower it.

After years of experimenting in our studio, we’re sharing the honest reality behind skipping the bisque firing — what worked beautifully, what failed spectacularly, and when raw firing can genuinely save time, energy, and production costs.

Our wonderful 7-year-old gelding Miervaldis (Lord of Peace) is offered for sale — to an educated owner seeking a thoughtful, versatile partner.

A large spa opening in Poreč, Croatia, chose a collection of handmade pieces for their treatment rooms, rituals, and entrance spaces — all made in our rural Latvian studio.

The bronze rim isn’t just decoration — it responds to the surface beneath it. On satin matte it feathers softly outward, while on glossy glaze it breaks into fluid, fractal-like patterns.

Horse hair raku is a low-temperature firing technique where strands of hair are placed onto glowing hot ceramic, instantly burning and leaving delicate, one-of-a-kind markings. In our studio, the hair is gathered slowly from our four horses over time — making each piece not just a result of fire, but of relationship and care.

Marbling clay is where material becomes decoration — patterns formed not by applying, but by combining and shaping different clay bodies.

The search for a truly transparent matte glaze is a bit like chasing the Holy Grail — beautiful in theory, but impossible in practice. In high-fire ceramics, the very thing that creates a matte surface also scatters light, meaning true transparency and matte simply cannot coexist.

A practical guide for potters & a quiet reassurance for those who live with handmade pieces

Here’s how forage analysis completely changed our feeding program.

Shipping ceramics is complex — but it’s also learnable, manageable, and deeply worth it. In this post, we share what shipping fragile work across borders actually involves, and why it became one of the most important skills in our studio.

Ceramics is only part of how our studio thrives. In this post, we share a transparent breakdown of where Laima Ceramics’ income comes from — and why diversification, international work, and education matter.

Laima Ceramics is a two-woman studio built on shared responsibility, care, and clarity of authorship. Beyond making objects, we shape a working environment rooted in trust, mutual support, and respect for the rhythms of real bodies and lives.

Over the years, my practice has expanded beyond the wheel. YUTORI is the result of stepping fully into my role as a designer, translating an established visual language into a new scale and purpose.

Plagiarism in ceramics is not about borrowing a single idea. It happens when form, structural detail, and glaze language are repeated together — producing work that is immediately recognizable as someone else’s.

Matte and satin-matte glazes (especially in white) may show light cutlery marks over time — these are not scratches, but metal residue from cutlery and are a natural characteristic of matte surfaces.