We sat down with ceramicist and Watts Resident Potter, Bahareh Khomeiry to find out more about her practice and what influences her work.

Could you tell us a little bit about your creative practice?

My practice as a ceramicist combines both hand-building and throwing techniques, and I often move between them intuitively as I work. One of the things I enjoy most about working with clay is the process of problem-solving - finding practical and creative ways to bring my ideas to life.

I’m especially drawn to coiling and slab-building, with a strong focus on form, surface, and narrative. My work is often sculptural, exploring both personal and collective experiences - particularly those rooted in my heritage and cultural background. Symbolism and storytelling are central to my approach, and I’m always looking for ways to embed meaning into the structure and surface of each piece.

Alongside sculptural work, I have a deep interest in traditional handmade tiles and surface design, especially Persian tiles. I’m inspired by their motifs and distinctive colour palettes - the turquoise, cobalt blues, vibrant yellows, and pinks often seen in Qajar dynasty tilework. These were the first ceramic pieces that truly captivated me and drew me into the world of ceramics. Clay has since become my primary language for expressing identity, memory, and resistance - often in quiet, indirect ways through form, texture, and repetition.

Was there a specific turning point which inspired you to start working with clay?

Yes - the turning point came while I was working in an architectural office in Iran. I was involved in projects that incorporated handmade tiles, and I became fascinated by the tactile quality of ceramics and the rich visual storytelling found in traditional tilework. That experience sparked something in me, and I began studying ceramics seriously. What started as a technical curiosity quickly became an emotional and expressive outlet - especially at times when direct forms of expression felt risky or restricted.

Being a woman in Iran and witnessing so much of what continues to happen in my country, working with clay became a way to process complex emotions and find a sense of peace. The physicality of the material, its grounding nature, and its deep cultural resonance offered me both comfort and a quiet form of resistance.

Does your background in architecture have any influence on your ceramic works?

Absolutely. My architectural background deeply informs how I approach ceramics - particularly in how I think about space, structure, and balance. I’m always considering volume, proportion, and how individual elements come together to form a unified whole. This mindset carries through in all my work, from sculptural vessels to tile panels, and is especially present in how I approach building complex ceramic forms.

One of my biggest inspirations is traditional Persian architecture, especially the intricate brickwork of domes and arches. I find it fascinating how each brick plays a crucial role in supporting the structure - nothing is decorative without purpose. This idea of structural interdependence stays with me when I’m building in clay. I enjoy the challenge of constructing pieces that are both visually expressive and physically stable, and I often look to these traditional forms as a guide for how beauty and engineering can exist together seamlessly.

Are there any artists or ceramicists who particularly inspire you?

I have many favourite artists - some in ceramics, some in fine art, and some in architecture. Among ceramic artists, my greatest inspiration is Betty Woodman. I love her brilliant techniques, bold use of colour, and the joyful energy in her forms. I deeply connect with her belief that “a potter makes something that lives in a situation”, as my own work often responds to the spaces it inhabits.

I also greatly admire Imre Schrammel, especially the striking and unsettling piece The Bull’s Eye, which shows how ceramics can be powerful, thought-provoking, and not just decorative.

From the fine art world, one of my favourite Iranian artists is Shirin Neshat, whose Women of Allah series speaks powerfully about identity, cultural history, and the female experience. Her ability to merge beauty with political depth resonates deeply with my own approach to symbolic storytelling.

I also love the ceramics of Elizabeth Fritsch for their architectural precision, rhythmic patterns, and how they feel both contemporary and timeless.

In architecture, I am inspired by Nader Khalili and Hassan Fathy, who both embraced earth as a building material, preserving traditional forms while creating spaces that are humble, sustainable, and deeply connected to their cultural roots.

What has been the most challenging, yet rewarding, aspect of your artistic career so far?

The most challenging moment in my career came when I was in Iran and had to decide whether to stay quiet, making beautiful tiles and tableware to keep with the flow, or to speak out through my work about the social and political issues in my country. Choosing the latter meant creating bold, controversial sculptural pieces - knowing this would likely end my connection to the Iranian ceramic community.

I made the difficult but life-changing decision to move to the UK and study for an MA in Ceramics, so I could see the ceramic art world beyond Iran and work without censorship. This gave me the freedom to explore subjects I could never have addressed back home, where I might have faced serious consequences, even arrest.

For my MA project, I created the Hair as Freedom series, inspired by the Women, Life, Freedom movement in Iran. The reward for taking that risk has been extraordinary - not only personal freedom of expression, but also the honour of having this series selected for the British Ceramic Biennial, something I could never have imagined while working under censorship in Iran.

You mention finding balance in your ceramic work through constructing and assembling elements. Could you elaborate on what balance means to you in this context and how you evoke this within your pieces?

For me, balance is both a visual and an emotional quality. On a physical level, it’s about how different elements - shapes, textures, and negative space - come together so that no single part dominates, and the piece feels harmonious from every angle. On a deeper level, balance is about reconciling contrasting forces: fragility and strength, tradition and modernity, structure and freedom.

When I construct and assemble my pieces, I often think of the precision and rhythm of traditional Persian brickwork used to build domes and arches. Each brick is positioned to support the next, creating a stable whole that feels almost weightless. This idea has deeply influenced how I arrange my ceramic components - each part must rely on and complete the others.

I also draw inspiration from Nader Khalili, who reinterpreted these traditional principles using bags of sand to create his Earth architecture. Like Khalili, I am fascinated by how simple, repetitive elements can be assembled into something monumental yet human in scale. My goal is to bring that same harmony into my ceramics - pieces that feel grounded and strong, yet fluid and full of life.

Are there any specific pieces or projects you feel best represent your artistic journey or message?

Yes - my series Hair as Freedom: Cut Plaits is the work that most fully represents my artistic journey and message. It is a deeply personal tribute to the Women, Life, Freedom movement that emerged in Iran in 2022. Witnessing the courage of Iranian women as they removed their headscarves and cut their hair in defiance of oppression left a profound impact on me.

These ceramic pieces trace a journey - from a state of entrapment, to breaking free, and ultimately finding unity. Each work embodies a stage of transformation, reflecting resilience, strength, and the collective hope of those fighting for gender equality and freedom. The cut plaits serve as both a symbol and a memory of the women who protested fearlessly for their rights.

If you could give one piece of advice to any aspiring ceramicists, what would it be?

If you have an idea - even if it feels small or unimportant - sketch it out and start experimenting. Don’t be discouraged if it isn’t the most brilliant form at first; the key is to keep developing it. If you get stuck, give yourself a break, go for a walk, and observe your surroundings - often, new inspiration or a solution will appear when you least expect it. Above all, remember that consistent hard work will always be rewarded.