Tactile Rituals

Linnan Ye makes experiential ceramics. Her table and drinkware pieces are inherently functional, but the artist takes it a step further, considering the weight of a cup or bowl in the hand and the texture of its surface. “There’s a little shop here in San Francisco that showcases Japanese makers’ work. I came across an espresso mug with a notch for your finger to sit in,” she recalls. “Holding it, I could feel how it was designed to connect to the person using it.”

Inspired by the idea of creating objects that bring thoughtful detail into everyday life, Linnan followed an impulse that had been with her for some time – rooted in her childhood in China, where she developed an intuitive appreciation for the ceramics that accompany small daily rituals and habits. “I studied architecture, but throughout my career, I always wanted to do something on a smaller scale,” she says.

Drawing on her training in proportion and geometry, she carries an architectural understanding into ceramics, where the relationship between object and user becomes more tactile and intimate. Often influenced by large-scale structures such as the water towers seen along highways, she seeks to capture their sense of presence and translate it into objects that can be held and used ordinarily: an early morning matcha, or sake shared with friends.

Linnan gravitates towards dark stoneware clay for the way it responds to layers of creamy white porcelain slip. “It creates a lot of interesting variation.” Her experimental approach is seen in organic forms with dappled surfaces, achieved by pressing cheesecloth into leather-hard clay and applying slip on top, transferring the fabric’s woven pattern onto the piece. “I like to try things, using different brushes and materials to create interesting textures.” Others stand out for their simplicity: elegant matcha and sake sets with delicate spouts and softly curved walls, coated with intentionally uneven glazes.

Linnan guesses that her work is half planned, half intuitive. She sketches loose designs first – a relic from her architectural training – and then plays with different techniques on the wheel. “I like wheel throwing because it has limits and restraints, which make me think about how to push them. There’s a kind of freedom in that.” Some of her pieces incorporate hand-built elements that break away from their gently rounded bases.

This freedom reveals itself in Linnan's ceramics for the TOAST New Makers collection. A patterned vase rises from a curved base into a trumpet-shaped opening, while cups and pourers balance clear purpose with an air of spontaneity. She manipulates the clay while it’s soft, allowing gravity to contribute to the final form. “If I attach parts when they’re still soft, some areas will settle more, and that creates the movement I want.”

A shift in Linnan’s approach came after a trip to Japan, where she noticed that the plates and bowls in restaurants were far from uniform. “They were just a little irregular, and it felt more relaxed,” she says. “It made me care less about being perfect.” In some ways, working with clay demands this attitude towards imperfection; pliable to a point, the material’s stubbornness is a common source of both frustration and admiration among potters.

Linnan’s ceramics take shape in a shared studio in San Francisco, a city which inspires her with its diversity and dynamic art scene. “Every neighbourhood is different, and we have easy access to nature, which is a really good thing for people doing creative work.” But the city sometimes feels small, and Linnan is hopeful that through our New Makers 2026 programme, her work will find resonance with a wider community. “I’m really grateful to be selected this year. I’m going to try my best, and I’m excited to see what comes from it.”