Han Ceramics
What’s your name and where are you based?
My name is Hannah Massey and I’m based in the city of Cape Town, South Africa.
Can you describe what you do in a few words?
HAN Ceramics is about exploring form, material, and the space in between. Each piece is handbuilt, allowing the clay to take shape in an intuitive, organic way. While I first focused on creating functional vessels, my practice has evolved to be more sculptural and expressive—translating my inner world into tactile forms.
Your pieces feel both alive and abstract, Are the shapes you create meant to feel familiar, or are you more interested in ambiguity?
I think it’s a balance of both. The forms I create are rooted in human and natural shapes, so there’s an inherent familiarity to them, but I’m also drawn to ambiguity. I like the idea that a piece can feel recognizable but not entirely defined, like something remembered. It’s that in-between space that interests me; the tension between presence and absence; form and feeling.
Your style seems very distinct, do you remember the first time you feel like you encountered it, and how it felt?
My style wasn’t something I encountered all at once – it evolved over time. It feels like a culmination of experiences, exposures, and a growing understanding of form. I’ve always been interested in world building – whether through objects, spaces, or narratives. My studies in set design and previous jobs in interiors and styling eventually led me to discovering my love of ancient artifacts, Japanese minimalism. However, I do remember the moment when things clicked; when I realized I was more interested in forms that felt unearthed rather than constructed. Making these biomorphic forms felt natural, like I was uncovering something rather than designing it.
Is there a specific ancient object or artifact that shifted the way you approach your own making?
Yes, the Eye Idols of Tell Brak, Syria. They had a profound impact on the way I think about form and presence. Their expressive simplicity shifted my approach to making. These tiny figures, with their wide, staring eyes, feel human yet otherworldly. That sense of ambiguity, of being both familiar and enigmatic, is something I try to capture in my own work. I’m interested in evoking a feeling, a recognition just beyond reach.
What is the most unconventional source you’ve ever drawn inspiration from?
Probably David Lynch. I guess that’s quite unusual for a ceramicist.
If you were to stray away from ceramic art, what kind of art would you be interested in exploring?
Tricky! It took me quite long to settle on ceramics after trying so many mediums. I would love to get involved in film again. But, something I haven’t tried and would love to do is glassblowing.
What object in your studio or home holds the most meaning for you right now?
It would have to be the first H candle holder that I made, it became my trademark, helped me find my style, and is something I return to instictively. I kept it and it’s sitting on my shelf at home.
Would you rather work in Silence or music while working?
Music
Do you prefer to plan your pieces or listen to intuition while creating?
Always listen to your intuition.
Would you rather spend a day sculpting blindfolded or with your non-dominant hand?
I’m ambidextrous, but sculpting blindfolded does sound fun.
Would you rather create something no one understands or something everyone misunderstands?
Something no one understands
Would you rather collaborate with your past self or your future self?
Future Self, hopefully older and wiser.
Where can people find you?
Instagram @han_____ceramics, info@hanstudion.online, 31 Loop Street, Cape Town
