In an era defined by heightened environmental awareness and the need for circular practices, the world of ceramic art faces significant challenges concerning material waste and energy consumption. Among these, glaze presents particular difficulties in terms of recycling and environmental impact. Leftover glaze materials can complicate recycling processes and contribute to environmental pollution, while ceramic production often involves energy-intensive, high-temperature kiln firings. Recognizing the importance of considering the entire material life cycle, this project seeks to introduce a sense of circularity into the ceramic studio by rethinking the relationship between clay and glaze.

Traditionally, clay and glaze are treated as two distinct materials: clay forms the ceramic body, while glaze is applied as a separate surface coating. This research challenges this distinction by exploring the possibility of combining the two materials into a single, unified ceramic body. By incorporating leftover glaze waste directly into the clay, the project investigates how these materials can work together to formulate a new ceramic material. The aim is to develop a stronger stoneware clay body that can mature at lower temperatures and be produced through a single firing, reducing energy consumption while giving new value to studio waste.

The essence of circularity lies in reusing and upcycling existing materials, transforming waste into valuable resources. This research explores ways of reintroducing studio waste into ceramic production by rethinking traditional techniques such as slipcasting, the agate technique, and terrazzo making. In particular, terrazzo, traditionally made by embedding fragments of marble or stone within a binding matrix, offers inspiration through its improvisational approach to combining materials. By adapting this technique, seemingly unusable glaze remnants become an integral part of the clay body, contributing to both its structure and aesthetic qualities.

The research also draws inspiration from archaeology, which offers a deeper understanding of material histories and their potential for new applications. From this perspective, glaze waste is reconsidered not as an unwanted residue but as a material with the potential for transformation and reuse. The initial phase of the project focuses on creating a series of handmade tiles using this circular adaptation of terrazzo, investigating the interaction between clay and glaze and the development of a unified stoneware material suitable for lower-temperature, single-firing production.

As part of its wider contribution to sustainable material research, the project is connected to material knowledge-sharing initiatives, including the Future Materials Bank at the Jan van Eyck Academie, the Materials Collection at the Rhode Island School of Design, and MaterialDistrict in the Netherlands. These platforms support the exploration and dissemination of innovative materials and circular approaches to design. Ultimately, the project aims to challenge conventional ceramic practices by bringing traditionally separate materials together, transforming studio waste into a valuable resource and opening new possibilities for more sustainable ceramic production.