Introduction
I first met Michel last November during the Berlin Tea Festival, and it was an encounter that felt deeply meaningful. From the moment we spoke, I felt an instant connection—not just with Michel as an artist, but his way of perceiving the world. His approach to tea and ceramics resonates with a profound sense of mindfulness, artistry, and connection to nature. This shared understanding has inspired me to collaborate with him to bring his teaware to a wider audience and explore how his artistry transcends the boundaries of traditional teaware art.
Connection
Lorela: Can you share your earliest memory of tea? How did this initial experience shape your appreciation for tea culture?
Michel: My earliest memory of tea comes from my English grandmother. She used to have me make her tea early in the morning. One day, I brought her the tea, and she asked me to throw the infusion down the toilet, exclaiming, “You brought the kettle to the pot and not the pot to the kettle, and you only warmed the pot once, not twice!”
This experience taught me the importance of attention to detail in tea-making. It made me realize that the art of tea is often overlooked but holds the potential to turn a simple cup into a deep and meaningful experience.
A good cup of tea is rare, and its value lies in the care and intention behind its preparation.
Inspiration and Craft
Lorela: What role does the sensory experience of tea (taste, aroma, ritual) play in your creative process? How does the ritual of tea influence your approach to creating ceramics?
Michel: I use a 19th-century tetsubin (Japanese Cast Iron Tea Kettle) in my studio and often have a bowl of hot tea beside me as I work at the wheel. Watching the steam rise from the tea bowl while shaping a new one creates a sensory connection that deepens the meaning of my work.
I’m not just crafting pottery—I’m a tea lover exploring the essence of good teaware.
While I follow the grammar of making, I also respond intuitively to the clay on the wheel, letting the process guide me. This balance of tradition and creativity is mirrored in how I approach both tea and ceramics.
Each morning, I spend an hour using my own teaware before heading to the studio. This ritual offers a moment of communion with my work, the tea leaf, and my creativity. Tea drinking fosters contemplation, and I aim for my work to evoke a similar restful and graceful quality.
Cultural Perspectives
Lorela: Is there a specific tea culture that resonates with you and influences your approach to both tea and ceramics?
Michel: My English grandmother’s lessons were foundational, instilling in me a desire to perfect the art of tea-making. Initially, I was deeply influenced by Chinese tea culture, particularly as a pu’erh drinker. This evolved into an appreciation for Korean traditions and, later, the Japanese chanoyu tea ceremony.
While Chinese and Korean influences dominate my work, I draw inspiration from each culture I explore, weaving these traditions into my ceramics.
Material and Form
Lorela: How do you design ceramics to enhance the tea-drinking experience? How do texture and form relate to the sensory aspects of tea rituals?
Michel: My teaware is rooted in tradition but always infused with my own vision. I aim to create pieces that are functional yet imaginative, sometimes introducing new ideas to enhance tea rituals.
The tactile qualities of teaware are crucial. For instance, I spend hours contemplating the ideal shape and weight of a teacup or tea bowl, though once I begin making, I let intuition take over.
I work with the finest porcelain from New Zealand, which enhances the taste of tea. My tea bowls are crafted with generosity of spirit, creating an illusion of a larger interior—a reflection of tea’s ability to connect us to something bigger. I often think of the Taoist recluse, retreating into the mountains and savouring tea as a way to reconnect with nature and self.
My teaware aims to serve as a portal to that same peace and simplicity.
Philosophy of Tea
Lorela: Does your process of making ceramics mirror the meditative and grounding nature of tea?
Michel: Absolutely. The process of tea-making for me is slow and deliberate—boiling water in a cast-iron kettle, often after a grounding walk. Similarly, in the studio, I work in a meditative state, moving in slow motion to maintain clarity and focus.
This philosophy learned through tea, is deeply embedded in my ceramic practice. Taking time allows me to tune in to the process, resulting in pieces that feel both intentional and alive.
Collaborative Efforts
Lorela: Have you collaborated with tea masters or other artisans to create ceramics tailored to specific tea rituals?
Michel: I’ve been fortunate to collaborate with experts like David and Kathy from The Essence of Tea, Stephane Erler from Tea Masters, and Tim d’Offay from Postcard Teas. Currently, I’m working with Lorela from WanderlusTea and Andy from Yushu Tea Gallery.
I also have strong connections within the artistic tea community, sharing creative projects with potter Jacob Bodilly and musician Bastien Crocq. These collaborations bring richness to my work, blending perspectives from tea and art.
Emotional Connection
Lorela: How does the choice of a ceramic vessel transform the experience of drinking tea? What emotions or sensations do you hope your pieces evoke?
Michel: The choice of a vessel greatly influences the tea experience. I put immense thought into the shape, weight, and feel of each piece, ensuring it harmonizes with the tea-drinking ritual.
I imagine the tactile joy of holding a tea bowl that feels balanced and inviting. My aim is for the user to feel connected—to the tea, to nature, and to themselves. I want my pieces to evoke a sense of peace and nostalgia, much like a Taoist savoring tea in solitude.
Evolution of Practice
Lorela: How has your relationship with tea evolved, and how does it inform your artistic practice?
Michel: Over the years, tea has become a constant companion, though I often drink alone unless in the company of true tea enthusiasts. My practice has evolved to focus on smaller, more intimate teaware, though I also create large-scale works like moon jars and palace vases.
Functionality and artistic expression must coexist in my teaware.
The energy of a piece must feel right, and only then will I offer it for sale. For every ten tea bowls I make, only one or two meet the standard for chanoyu, while the rest are sold more casually.
The Global Tea Community
Lorela: How does your work connect you to a global tea community?
Michel: The global tea community feels like home—a shared passion for tea unites us. Within this community, handmade teaware is recognized as essential to the tea experience, and my work is appreciated without needing much justification. This understanding fosters a deep sense of belonging and reinforces my commitment to creating meaningful teaware.
Future Explorations
Lorela: What new ideas or projects are you exploring in your ceramics related to tea?
Michel: I’m currently working on tea caddy moon jars, miniature porcelain teacups, and boxed tea sets that include a gaiwan, cups, and a pitcher. I’m also collaborating with new contacts to exhibit my work at tea festivals across Europe next year. My goal is to present a cohesive collection of teaware that celebrates the art of tea while continuing to challenge and refine my craft.
All photos are credited to Michel François' website or related materials published on his Instagram.
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