This month, meet RENÁTA ZSIGA, ceramic artist and potter. Renáta welcomed us into her studio @donna.budapest, where we got a real look into how she works and creates, and the opportunity to learn more about her life and path to working with clay full-time. Read on to discover what inspires Renáta’s art, and why setting up a routine that works around your creative cycle is the way to go. 

Hi, Renáta! Please introduce yourself and tell us about your background.

I’m one of those lucky people who found their calling early on, so to speak. I was already doing ceramics in high school, and it seemed inevitable that I would apply to Moholy-Nagy University of Art and Design (MOME) in Budapest. I was accepted to study Ceramic Design, but I ended up not finishing my degree — I’m one of the very few from our year who quit before the end.

My intentions hadn’t changed, but my student years were complex because of all the various interests I had at the time and the projects I was involved in.

How did your journey lead you to eventually take up ceramics full-time?

I’m from Szeged, and starting out in Budapest after leaving university wasn’t easy — especially getting all the materials and equipment a job like ours requires.

In the meantime, I worked on the restoration of several buildings in Budapest. I also spent a year in construction, repairing ceramic tiles — I learned a lot about the “workman’s life” and on-site attitudes, something that still influences me today.

After that came a period of manufacturing my own tiles and ceramics for construction. Alongside teaching, this gave me the financial stability to start creating my own pieces.

Buying my own kiln and pottery wheel was the beginning of the journey I’ve been on for the past four years: working independently on custom-made pieces, and teaching. Teaching lets me meet fascinating people and keeps me inspired.

Tell us about the art of making ceramics. What is your teaching process like?

One interesting thing is that I barely ever sketch. I mostly create models or prototypes right away to see what the material is capable of — what shape and form could work — and I plan the process directly at the wheel.

Ultimately, I value it when someone not only knows how to create something, but also understands the background and process behind it. That’s what I try to pass on in my workshops — instead of just creating without context.

But at the end of the day, a mug is still a mug — you know its purpose and criteria. What makes a difference are all the tiny details that need to be just right for someone to feel satisfied with the final piece.

I teach alone and hold multiple workshops per week, which not only supports my livelihood but also fulfills me personally. It keeps me motivated, and honestly, I’ve made so many great friends over the past five years thanks to people walking into one of my classes.

Who is your ideal customer or dream order?

I’m lucky — I usually work on projects where I enjoy both the task and the people involved.

I already feel like I have dream clients: people who choose to work with me based on my style and vision, while also respecting my creative freedom.

My vibe is definitely earthy — lots of matte and natural colours. The same goes for shape: the wheel is my partner-in-crime, and I create 98% of my products on it.

I’m also proud of the torus I’ve made — it’s a great representation of how I envision my objects. When someone visits my studio, DONNA, they can instantly tell that I aim to make my work even, well-defined, and near-perfect — this gives me a sense of peace and balance.

That’s not to say objects can’t have vibrancy or ambiguity, but I prefer their meaning and presence to be clearly expressed.

What does your typical day look like?

It’s quite dualistic. I have two types of days: One where I stay in my pajamas all day, don’t talk to anyone, and throw 80 mugs on the wheel. The other is when I have students coming in, and I show a completely different side of myself. Honestly, I enjoy both. The challenge is to find a rhythm that suits me and the season I’m in. I also like the days when it’s just me and my dog, Ödön. We jog on Margaret Island, and I always go at dawn to avoid the crowds.

Even in winter?

Oh yes. At first, I hated it. But after two years of doing it consistently, it’s made a huge difference. Now I actually feel worse if I don’t go. In ceramics, you’re always hunched over. They say it’s worse than an office job — sometimes not even your elbows touch the desk. I’ve had lower back pain since I was 16, and this is one of the only things that helps. Ödön always comes with me, though it’s getting harder for him as he gets older.

What’s next in your routine?

It might sound strange, but I only start working around midday. That includes social media. I don’t check messages or emails, and I don’t pick up the phone unless it’s urgent. That time is for slowing down, drinking tea or coffee, reading, and being with loved ones. I also barely eat in the morning, which surprises many people, but I usually only get hungry around 2–3 pm. I consciously schedule times when I can visit my favourite places without the crowd. I hate when the experience is ruined by too many people. Natural light plays a big role in my life, not just in the studio but also for my biological rhythm. I never use blinds.

I love my neighbourhood! Walking Ödön, chatting with old ladies, joking and gossiping with them... the essence of life is often in the little things that don’t seem grand at first glance.

What does your week look like?

I teach Tuesdays and Wednesdays, with individual students booking appointments between 12 pm and 8 pm. Monday, Thursday, and Friday are for fulfilling orders. On weekends, I hold group workshops from 2–4 pm, and if I have two groups, from 6–8 pm as well.

What’s in your bag?

Ödön’s Coat - Designed by Anna Oláh (founder of ANNA AMÉLIE), made specially for her dog and for Ödön. It’s a life-saver, he won’t go out without it in the cold.

Perfume - From a collaboration with Márti Tokaji of Andyourstories. She found a scent that matches the one I use at home, it’s divine.

Sand in a Bottle - I often get sand as a gift from friends’ travels. I use it under glazes, each has different melting properties and adds something unique.

Water Bottle & Snacks - Always with me: typically an apple and some sweets.

Chez Dodo Box - I collaborated with Chez Dodo on plates for their macarons. Gained 4 kilos during that project, their desserts are dangerously good!

Glasses - Only for reading or driving.

Hand Cream - A must in my line of work. I carry two: one strongly scented, one milder.

Books - I usually have two with me. I don’t listen to music on public transport, it blocks out the world. I’d rather read and stay aware.

Spinning Top - I made two for my boyfriend before he raced in the Atlas Mountain Race. He kept one, I kept the other. They’re made of porcelain and stoneware, small lucky charms.

Torus - My personal lucky charm. It’s hollow, handmade. When I feel discouraged, I look at it. It reminds me what I’m capable of and how much I still want to learn.

Bookmark - Made by my friend Gergő Muszka, featuring a drawing of Ödön. I have this scene tattooed on my shoulder, the drawing is both my tattoo reference and my bookmark.

Keys & Bottle Opener - A special opener my dad found at a junkyard in London.

MATRA MINI BLACK Backpack - My first YKRA bag, bought second-hand. I love that it’s black, I use it almost every day. It’s a real storyteller, full of memories.

SCOUT Backpack (White) - My second bag for bits and pieces. Both have served me well over the years.

photo by Botond Wertán