Instead of light, Levine’s wall hangings cast shadows. She’s starting to experiment a bit with color in the pieces — which she sells at Lawson-Fenning in Los Angeles — and with incorporating natural elements, including a perfectly cold-bleached stick she found at the Perito Moreno glacier in Patagonia.

Heather Levine, Ceramic Artist

If designers are especially complicit in adding things to the world — and for stoking our desire for more and more stuff — they also get first dibs on the act of destruction. “I smash my own pieces all the time,” says Los Angeles-based ceramic artist Heather Levine. “You have to make quite a bit to get what you like, and I don’t keep all the tests. I’ll destroy them or try to make them into something else. I don’t want to see things in the world that I’m not happy about.”

So it’s perhaps fitting that Levine’s latest work is borne of incisions and reuse, and of a certain dexterity with a sharp wood-handled knife. For months after a commission of her clay pendant lamps — for places like the Parisian oyster bar Le Mary Celeste or the refurbished Ojai Rancho Inn — Levine would save Ziploc bags of cut-out teardrops and dots, thinking she might at least rewedge and recycle the raw material. “For one thing, it’s a lot of clay. It felt like a big waste,” Levine says.

But when it came time to crush the leftover pieces back into lumps, a spark went off: “At first we thought we might make windchimes,” Levine says. “I started cleaning all the parts, firing them with no glaze, putting holes in them and stringing them together to see what they would do.” The resulting wall hangings were just part of an exhibition of West Coast craft at IDÉE in Tokyo, which also featured work by Sight Unseen favorite Stan Bitters. “It’s one of those things that I didn’t expect people to like,” Levine says of the hanging pieces. “But I think the moment was right: people got tired of everything being manufactured and everything sort of looking the same. I mean, there was a point where you would go into someone’s home and everyone had the same crap, the same plates, the same furniture, and I think everyone just really phased out of that.”

In this studio visit, Levine gives us a look at some of the pieces that made it past her discerning eye to survive another day. “With ceramics, you always get better. I could look at a piece that I loved four years ago, and your feelings change. There’s such a skill element to it,” Levine says. “It’s not that it’s juvenile. It’s that it becomes your past.”

 Su Wu is the proprietor of I’m Revolting.