Based in London, Flora Fabris created OOAK Creation in 2022, a pottery studio crafting one-of-a-kind ceramics inspired by wabi-sabi aesthetics

​After studying civil engineering in France, I spent several years working as a project manager for an engineering consultancy before stepping away from my career to raise my family. During those years, I painted abstract mixed media whenever I could, squeezing moments of creativity between school runs, house renovations and everyday family life. Although painting gave me freedom to explore colour, texture and composition, something was missing. I wanted the things I made to have a life beyond the studio. I was searching for purpose as much as expression.

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When I first sat at a pottery wheel, ten years ago, everything fell into place. Clay brought together everything I had been looking for. It offered endless opportunities to experiment while allowing me to create objects that become part of everyday life. A favourite cup held every morning. A bowl shared around the table. A vase filled with the first flowers of spring. I realised that function wasn't a limitation to creativity: it gave it meaning.

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Today, functional pottery remains at the heart of my practice. Even when a piece feels more sculptural or experimental, I want it to invite touch, use and connection. I believe the objects we live with every day can quietly enrich our rituals and become part of the stories we create around them.

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Curiosity still continues to guide everything I make.

I enjoy developing my own glazes as much as throwing pots. My studio shelves are filled with test tiles, notebooks and countless small experiments. Each firing teaches me something new about the conversation between clay, minerals and fire, and I find as much joy in the process of discovery as in the finished pieces themselves.

I've long been drawn to the richness and quiet complexity of reduction-fired pottery. Yet working from my urban London studio, I couldn't justify installing a gas or wood-fired kiln. Rather than seeing that as a limitation, I began asking a different question: could I create surfaces with a similar depth and natural variation using an electric kiln?

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That question has led me to develop my own approach using wood ash and layered glazes. Through years of testing, I've discovered ways of creating surfaces that capture some of the warmth and subtle unpredictability I admire. By combining wood-ash with layered glazes, I have developed an approach that seeks the quiet complexity and natural variation I love in reduction-fired pottery while working entirely in an electric kiln. It isn't about reproducing traditional surfaces exactly. It's about embracing experimentation, respecting my environment and discovering a language that feels true to my own practice.

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The raw landscapes of the French Pyrénées I grew in, and Japanese aesthetics have been a constant source of inspiration throughout that journey. I am drawn to the quiet beauty of wabi-sabi, where imperfection, simplicity and the passing of time are not flaws to be hidden but qualities to be celebrated. I hope my work reflects those values, inviting moments of calm and encouraging a slower appreciation of the objects we use every day.

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Every piece is made by hand in my garden studio in Greenwich, London. No two are exactly alike. Each carries the traces of the materials, the making process and the curiosity that continues to shape my work.

 

I regularly take part in fairs and exhibitions. See the Events page to find out where to see my work in person, or contact me to arrange a studio visit.

I do welcome Collaborations with chefs, restaurants, interior designers, hotels and creative brands to create handmade ceramic tableware and bespoke stoneware objects.

I also share occasional reflections from the studio in my Journal, where I write about process, materials, and the rhythm of making.