Teapots and More: Vessels that Pour Workshop with John Neely

In June 2024, I had the amazing chance to join a teapot-making workshop with John Neely at the Peters Valley School of Craft. This whole experience was made possible by the North-West Ceramics Foundation through the Maureen Wright Bursary — and I’m beyond grateful for their support.

John making a teapot lid

I’ve admired John’s work since my art school days. He’s known for his beautifully considered tableware — especially drinking and pouring vessels — and for developing the iconic train kiln used in wood firing. His thoughtful, functional approach to pottery has always resonated with me, so getting to learn from him in person felt like a full-circle moment.

Peters Valley is tucked away in rural New Jersey, about a two-hour drive from New York City. The campus is a little creative world of its own, offering studio-based workshops in everything from ceramics to printmaking to blacksmithing. I was lucky to live on campus during the program, and my little house was just 20 meters from the ceramics studio. We had 24-hour access, which meant late-night making sessions with my roommate — who ended up becoming a good friend. After the program, we even went museum-hopping together, and I stayed over at her place in NYC. It's that kind of place — where friendships form fast and stick.

One of the big highlights for me was checking out their wood kilns. In 1980, Katsuyuki Sakazume built the very first public-use Anagama kiln in the U.S. right on the Peters Valley campus. It's still there — still in use — and remains a huge draw for ceramic artists from all over. Seeing it in person gave me chills. There’s something powerful about standing next to a kiln that’s been firing for decades, especially one with such historic weight behind it.

John's tool set

The workshop itself was packed with learning. John did demos every single day — incredibly detailed, deeply thoughtful, and super hands-on. One day he even brought in tools so we could make our own cutting wires. He also shared a collection of handmade studio tools he’s crafted over the years. Those tools actually reminded me of my Yixing teapot master. There’s something about these old-school makers.

Watching John work up close gave me a deeper appreciation for the delicate dance between technique and intuition in making functional ware. I came home with a notebook full of tips, sketches, ideas.

But honestly, what made the experience even more meaningful was the community. Being surrounded by passionate, generous, and curious artists was so energizing. We exchanged ideas, tested techniques, supported each other through the inevitable studio struggles, and laughed a lot along the way. I made some great new friends — each bringing their own unique voice and perspective — and those connections have already started shaping the way I think about ceramics.

It was one of those rare, golden moments where learning, making, and connecting all came together in the best possible way. I’m so excited to keep the momentum going and see how this experience continues to ripple through my work in the months ahead.