3. How would you describe your work in three words?

Romantic, freehand, decorative.

4. What materials or techniques do you use, and why are they important to your process?

I like to use unpredictable materials like glazes, or watercolours. My work celebrates imperfections and character. Working with materials that feel like they have their own personality makes it an exciting process. I always think you can tell when an artist is enjoying making the artwork.

5. Can you tell us about a favourite piece you’ve created and the story behind it?

I’ve been focussed on developing my series of ‘Love Platters; a love letter to nature’. These are an ever-growing collection of ceramic platters which are handmade and glazed in my studio. Inspired by landscapes and happy memories in nature, the narrative for these works is an appreciate of nature. Each platter has romantic words written around the decorative border. The series questions ‘If you were to write a love letter to nature, what would you say?’ It feels very relevant for now.

6. What does a typical day in your studio or workshop look like?

I tend to do my emails and admin at home with a coffee and then cycle to the studio. I collaborate a lot, often with Interior Designers or brands to create murals, lampshades and other decorative forms of art to their brief. So, I often have illustrations and samples to complete and meetings to attend. I always try to plan in an hour for sketching.

After lunch I focus on ceramics, working with clay or glazes and pack up for the day. No day is the same. Some days are dedicated to marketing plans, or accounts, or inspiration but those are less frequent.

7. Do you have any unique rituals or habits that help you stay creative?

No rituals as such, but I remind myself to ‘get fresh air, look up and stay curious.’

I think there are a lot of days where you don’t feel the ‘passion’, but as long as you are curious you will keep experimenting and playing which will lead to creativity.

8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?

I focus on something ‘easy’ that needs to be done and then the scary idea seems less scary. If it’s a prolonged block, I take a step back and seek inspiration in galleries, books or being out of my comfort zone. Running helps me a lot too.

9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?

It is still one I struggle with but time-management and the lack of financial security. I write to do lists every day to keep me focussed and I try to make sure I always have a couple month’s rent saved up in case I have a slow month of sales.

I often pitch for work and get rejections which is always disheartening, but as each year goes on, I take the rejection less personally. The ups and downs are very normal in this industry. It’s the best feeling when you do get an exciting project!

10. What’s been your proudest moment or achievement so far?

I loved painting the window artwork for Martin Brudnizki’s shop And Objects in 2023.

I also adored painting a giant egg for The Queen’s Jubilee celebrations. The egg was exhibited on the streets of London with The Elephant Family (a charity endorsed by The King and Queen). My Fabergé inspired egg was selected by Fabergé to be exhibited for their coronation event in 2023.

11. What’s your favourite quote you’ve ever heard about your work? Who said it, or what was the name of the publication?

– HOUSE & GARDEN

12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?

I am very inspired by architecture, patterns and nature, so a lot of my ideas come from just absorbing everyday life or thinking back to happy moments I can celebrate. I take a lot of photos for documentation and frequently update my mood board and sketchbook in my studio. I think collaboration is key to creative development too.

13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?

I am influenced by various artists and movements and it’s always changing. Grayson Perry is probably my favourite artist. Perry was the UAL Chancellor in my time which I think played a huge part in his influence.

Illustration wise I admire Edward Bawden, and I find the woven 19th century nautical themed works by Colin Millington so charming. Decorative designs such as the patterns of Robert Adam often creep into my works.

Even though they were not early influencers on my practice, my work feels quite closely aligned to the Bloomsbury Group’s way of thinking too.

14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?

I often try new colours and end up being drawn to my favourite colours. I love the Georgian colour palette (dusty pinks, greens) and colours of nature (mossy tones, browns and blues). In general, I only use 2 or three colours in an artwork. This limited colour and use of the colour theory allows a stronger outcome for what I am trying to achieve.

15. What role does your environment play in shaping your creativity?

I have to be in the right mindset, so making sure I don’t have lots of deadlines at once is important to my productivity. I also need to feel comfortable so I often listen to the radio or light a candle in my studio. I like the presence of plans and the sounds of the Waterloo trains that go by the studio.

16. What do you want people to feel when they experience your work?

I would like for people to feel a sense of play and an uplifting emotion. Ideally the artwork doesn’t just ‘go with the sofa’. It’s always lovely when someone really ‘gets’ your work and the craftmanship that’s gone into it.

17. What are you currently working on, and what excites you most about it?

I am currently working on an illustration project for a client which is very detailed and a great challenge. I am also working on some ceramics for a group show at The Watts Gallery called ‘Spirit of Charleston’ (Open Feb-April).

I am also working on some ceramic plates for Interior Designer Rosanna Bossom which is also exciting as I have no idea how they will look in situ. Straddling the role of artist and designer is my dream balance so I am grateful when there is a mix.

18. What advice would you give to someone starting out as a maker?

I’m not really one to give advice as everyone has their own beautiful journey.

If I had to advise –  it would probably be to ‘always give it a go, and if you can – plan. Also turn up to events as you never know who you might meet that could be a new creative friend or collaborator.’

19. If you could go back to the start of your career, what advice would you give your younger self?

Try to care less what others think, listen to what you feel is right, and don’t overcomplicate things.

20. If you could collaborate with any artist, past or present, who would it be and why?

I would adore to collaborate with an artist / brand like Diptyque or Ffern as I find their focus on nature is aligned with my work. I would also love to do a fabric range if there are any fabric suppliers out there who’d like some illustrations? (I have a few ideas..)

21. Where can people find your work, and how can they support you?

You can find my work on my website: www.sashacompton.com and via my Instagram: @sashacompton_design.

I link which galleries are selling my work on my Instagram. I often take on collaborations and commissions, so please get in touch if you have something fun in mind.

From her vibrant London studio, Sasha Compton champions handmade, sustainable design through expressive artworks and one-of-a-kind creations. With each brushstroke and carefully crafted detail, she celebrates creativity, tradition, and the joy of slow, thoughtful making.

Explore Sasha’s latest collection and follow her creative journey:

Support Sasha Compton by following her creative journey on Instagram and exploring her full collection on her website.