We had the joy of speaking with Riccardo Scott about his uniquely expressive pottery and the path that led him into the world of pottery.
You Are originally from Europe. What first drew you to living in Aotearoa?
I lived in Italy until I was 10, my mother is Italian and my father is from New Zealand. We moved to Wellington in 2000. It was a decision my parents made on our behalf, wanting to live somewhere with more opportunity. That’s something I’ve really come to appreciate about being here: the ability to shift course easily and explore different paths.
What first led you to explore potting?
I completed a Visual Communication Design degree at Massey University in 2012. In 2015, I travelled abroad and spent several years working in Europe before eventually settling in Italy.
I came back to New Zealand for a visit in 2020 and, like many others, decided it was a good place to stay. I started potting from an urge to keep busy. There happened to be an old ceramics studio near where I was working, fruit picking. I felt the need to keep practicing and creating. I’m drawn to the values I found in the ceramics community and the making process, I like the utilitarian aspect, and the presence these objects hold in our everyday lives.
What first led you to explore potting?
I completed a Visual Communication Design degree at Massey University in 2012. In 2015, I travelled abroad and spent several years working in Europe before eventually settling in Italy.
I came back to New Zealand for a visit in 2020 and, like many others, decided it was a good place to stay. I started potting from an urge to keep busy. There happened to be an old ceramics studio near where I was working, fruit picking. I felt the need to keep practicing and creating. I’m drawn to the values I found in the ceramics community and the making process, I like the utilitarian aspect, and the presence these objects hold in our everyday lives.
How did your previous experience within the field of interior design inform your ceramic practice?
I’ve also worked with painting and photography, and I find every creative field encounters the same unspoken language; the choice of possibility and the expression of outcome. Working across disciplines helped me recognise that common thread, and it clarified things within my own practice.
How did your previous experience within the field of interior design inform your ceramic practice?
I’ve also worked with painting and photography, and I find every creative field encounters the same unspoken language; the choice of possibility and the expression of outcome. Working across disciplines helped me recognise that common thread, and it clarified things within my own practice.
You have spent time working at Driving Creek Pottery, which is a beautiful location, nestled in the Coromandel. What have you enjoyed the most about your time spent here?
I’ve been very fortunate to spend time at Driving Creek Pottery. What I’ve enjoyed most is working with a community of people who are truly amazing, people whose passion is matched by a sense of being part of a place that holds so much potential. It really is a place that facilitates possibility.
Driving Creek Pottery has a lasting legacy, renown as a setting that invites creativity and community. There are often clusters of artists present, creating works. Has this been a wonderful source of inspiration for you?
Yes, each artist who comes through here brings so much joy. All aspects of their person speak loudly, and it’s a reminder of the generosity in creative practice. It increases my own sense of charity and desire to continue making.
Driving Creek Pottery has a lasting legacy, renown as a setting that invites creativity and community. There are often clusters of artists present, creating works. Has this been a wonderful source of inspiration for you?
Yes, each artist who comes through here brings so much joy. All aspects of their person speak loudly, and it’s a reminder of the generosity in creative practice. It increases my own sense of charity and desire to continue making.
You source and utilise local raw materials to make your clay from where you have been potting, at Driving Creek Pottery. What do you most like about utilising it to craft your works from?
Using what’s around me makes sense, it’s a way to understand and learn the craft properly. Working within your own limitations is incredibly valuable. It pushes me to engage more deeply, to explore options and possibilities. That kind of engagement allows the vernacular to have a voice. I think we respond more instinctively to what reflects the world around us, and those materials carry their own language. I feel fortunate to give them a voice through form.
You source and utilise local raw materials to make your clay from where you have been potting, at Driving Creek Pottery. What do you most like about utilising it to craft your works from?
Using what’s around me makes sense, it’s a way to understand and learn the craft properly. Working within your own limitations is incredibly valuable. It pushes me to engage more deeply, to explore options and possibilities. That kind of engagement allows the vernacular to have a voice. I think we respond more instinctively to what reflects the world around us, and those materials carry their own language. I feel fortunate to give them a voice through form.
Your works are wood fired, and are a pivotal aspect of your beautifully grounded and organic works. How long is the process of wood firing?
Wood firing is a very engaging process, it requires constant observation. It begins with loading the kiln, where each piece is placed with care in relation to the flame path and the expected effects. The stoking can take upwards of 10–12 hours depending on the kiln. Most of my work is fired for around 12 hours. Then there’s a day or so before opening the kiln, where everything is slowly unloaded and the cleaning begins, shelves, pots, everything. It’s a slow, full-bodied process.
Your works are wood fired, and are a pivotal aspect of your beautifully grounded and organic works. How long is the process of wood firing?
Wood firing is a very engaging process, it requires constant observation. It begins with loading the kiln, where each piece is placed with care in relation to the flame path and the expected effects. The stoking can take upwards of 10–12 hours depending on the kiln. Most of my work is fired for around 12 hours. Then there’s a day or so before opening the kiln, where everything is slowly unloaded and the cleaning begins, shelves, pots, everything. It’s a slow, full-bodied process.
Lastly, is there a particular location either locally, or anywhere throughout Aotearoa that is close to your heart, and why?
I’d love to explore more, but I really love the Coromandel, the closeness to the sea, the beaches. On a good day I can collect clay and go surfing. I think it’s a real fortune to be here.
Gift a piece of the coast with the handcrafted ceramics of Anna Bogdanowicz. Inspired by her life near the sea, Anna’s works capture the essence of shoreline wanderings, the treasures found, and the stories sketched in sand.
We kick off the season of gifting Knit Shepherd is a New Zealand textile studio weaving tradition with innovation. Their stylish, warm, and locally created pieces make the perfect gift for loved ones whether here in Aotearoa or abroad.
Riccardo Scott is an Italo-New Zealand ceramic artist based in Coromandel. He had been working in art and design in Italy before returning to New Zealand in 2021, when he began working with clay. He is interested in harnessing and exploring the vernacular materials found in Coromandel, using locally sourced...
At Kina, we understand how important it is to find the perfect frame to complement and protect your chosen piece of art. Our team is here to guide you through the process, ensuring your artwork is beautifully presented and ready to hang.
