Close up w/ Jérémy Bellina
Ever thought about quitting your job and pursuing a passion? While many of us are still contemplating, Jérémy Bellina has already taken the plunge. The Frenchman turned his childhood love of art and working with his hands into a full-time career in ceramics. From an office job to opening his own studio in Berlin’s vibrant Neukölln district, Jérémy’s journey is a testament to following one’s heart. We visited his charming studio and discussed both his career shift and the art of ceramics. Of course, we also left with some insider tips on Berlin’s best spots.
“In Berlin, it’s easy to connect with fellow artists, freelancers and creatives.”
The
interview
Jérémy, you made ceramics your main profession in 2018 and opened your own studio in 2021. Can you share with us the journey that led to this significant decision?
When I was younger, I was very handy and loved making things and working with my hands. Art was always a big part of my life. But in my 20s, university and my career took over, and that passion faded. By the time I was 29 or 30, I started to miss it. That’s when I discovered ceramics and got hooked almost immediately. My job no longer gave me the same pleasure, so I decided to leave. I spent the first year improving my skills in the studio. Things got more serious during the second lockdown in 2021, and I opened my own studio. It finally allowed me to create more and larger pieces and offer pottery classes.
It took a lot of courage to quit your job and dedicate yourself to pottery, and it must have been very exciting. What emotions or realisations accompanied this decisive moment?
In my previous job, things were going poorly, leading to a lot of anger and frustration. I eagerly looked forward to mornings in the studio but had no enthusiasm for my old job. That was a clear sign it was time for a change. Quitting meant leaving behind my studies and career investments, which was sad, but the excitement about the future and the joy of the studio overshadowed everything else.
How would you describe the style of your ceramics, and which elements or motifs are you mostly drawn to?
It took a couple of years to develop my style. From time to time, during this process of playing and experimenting, certain shapes and curves recurred. Over time I also began to notice how light reflected off my pieces and how shadows were created around them when you made room for light. So I started making pieces that had a specific circle just for the light to go through, which became my trademark over time.
Can you tell us about the importance of colour in your work?
Colours play a crucial role in the stories I create around my work. While the shapes I gravitate towards tend to remain consistent, my choice of colours is highly seasonal. In summer, I opt for vibrant, glossy hues that bring energy and catch the eye. In winter, I prefer earthy, rocky and organic tones. Sometimes, I balance the bold shapes of extravagant pieces with more subtle colours.
How do you find the balance between aesthetics and usability in your ceramics?
When designing, I try not to think about functionality initially. Focusing too much on practicality can limit creativity. I’ve done commissioned work for restaurants and cafés, and I often make functional items for myself. But sometimes, I just want to design something that really stands out, and for that, I need to let go of practical concerns.
How does the atmosphere of Berlin and your studio in Neukölln influence your artistic work?
I share my studio with Christina Proske from noki ceramics. It’s wonderful because it allows for creative exchange and provides company. Without that, I could easily spend weeks in the studio without speaking to anyone. In Berlin, it’s easy to connect with fellow artists, freelancers and creatives. For example, we ceramicists meet once a month to discuss our work, catch up and see how others manage their practice. This interaction can be incredibly helpful, especially when you’re feeling uncertain about your art and need advice. However, Berlin can also be very overwhelming – and it’s hard to be creative here in the winter months. Then you really need to escape from the city from time to time!
Your art is often characterised by clear, bold silhouettes and your colour palette is also very diverse. How is this reflected in your personal fashion style?
I basically try to dress my age, which I realise is quite new. I try to find silhouettes and outfits that I tell myself I can wear for a long time. That’s the way I like to think about my ceramics – they have to stand the test of time. My personal style is a willingness to look good but not stand out too much.
The craft industry in Germany is facing a massive shortage of apprentices. What do you value in your work, and do you see a sustainable future for ceramics?
Craftsmanship will endure because there will always be people who fall in love with the craft and understand its value. It won’t die, simply because people will always be willing to make sacrifices for something that brings them joy. Moreover, encouraging younger generations to engage in craftsmanship is almost a political act. It helps them recognise the value of handmade items and appreciate the time and effort invested in creating them.
Your Instagram account boasts an impressive 123,000 followers interested in your work. To what extent does your community fuel your creative process?
I’m incredibly fortunate to have grown such a large following over the years. When I imagine all those people in one room, it’s overwhelming to think about how many are seeing my work. It’s both amazing and a little bit scary at the same time. Social media is a great place to connect with others, get inspired and discover new things. We all need reassurance and positive feedback for our creations. However, it also brings constant pressure, and sometimes I spend too much time online, losing sight of the vast audience watching.
If you were to craft your ideal day in Berlin, which spots would you go to and recommend others to visit?
A perfect day would start with coffee and breakfast at Companion or Isla, followed by a swim at Sommerbad Neukölln. For lunch, Café Piter is a favourite. I’m also still obsessed with Tempelhof. It’s refreshing to walk there and enjoy the open space and tranquillity. Despite Berlin’s nightlife reputation, I like to go to sleep early, so after a nice walk outside I go home so I can get up early the next morning!
Jérémy, you made ceramics your main profession in 2018 and opened your own studio in 2021. Can you share with us the journey that led to this significant decision?
When I was younger, I was very handy and loved making things and working with my hands. Art was always a big part of my life. But in my 20s, university and my career took over, and that passion faded. By the time I was 29 or 30, I started to miss it. That’s when I discovered ceramics and got hooked almost immediately. My job no longer gave me the same pleasure, so I decided to leave. I spent the first year improving my skills in the studio. Things got more serious during the second lockdown in 2021, and I opened my own studio. It finally allowed me to create more and larger pieces and offer pottery classes.
It took a lot of courage to quit your job and dedicate yourself to pottery, and it must have been very exciting. What emotions or realisations accompanied this decisive moment?
In my previous job, things were going poorly, leading to a lot of anger and frustration. I eagerly looked forward to mornings in the studio but had no enthusiasm for my old job. That was a clear sign it was time for a change. Quitting meant leaving behind my studies and career investments, which was sad, but the excitement about the future and the joy of the studio overshadowed everything else.
How would you describe the style of your ceramics, and which elements or motifs are you mostly drawn to?
It took a couple of years to develop my style. From time to time, during this process of playing and experimenting, certain shapes and curves recurred. Over time I also began to notice how light reflected off my pieces and how shadows were created around them when you made room for light. So I started making pieces that had a specific circle just for the light to go through, which became my trademark over time.
Can you tell us about the importance of colour in your work?
Colours play a crucial role in the stories I create around my work. While the shapes I gravitate towards tend to remain consistent, my choice of colours is highly seasonal. In summer, I opt for vibrant, glossy hues that bring energy and catch the eye. In winter, I prefer earthy, rocky and organic tones. Sometimes, I balance the bold shapes of extravagant pieces with more subtle colours.
How do you find the balance between aesthetics and usability in your ceramics?
When designing, I try not to think about functionality initially. Focusing too much on practicality can limit creativity. I’ve done commissioned work for restaurants and cafés, and I often make functional items for myself. But sometimes, I just want to design something that really stands out, and for that, I need to let go of practical concerns.
How does the atmosphere of Berlin and your studio in Neukölln influence your artistic work?
I share my studio with Christina Proske from noki ceramics. It’s wonderful because it allows for creative exchange and provides company. Without that, I could easily spend weeks in the studio without speaking to anyone. In Berlin, it’s easy to connect with fellow artists, freelancers and creatives. For example, we ceramicists meet once a month to discuss our work, catch up and see how others manage their practice. This interaction can be incredibly helpful, especially when you’re feeling uncertain about your art and need advice. However, Berlin can also be very overwhelming – and it’s hard to be creative here in the winter months. Then you really need to escape from the city from time to time!
Your art is often characterised by clear, bold silhouettes and your colour palette is also very diverse. How is this reflected in your personal fashion style?
I basically try to dress my age, which I realise is quite new. I try to find silhouettes and outfits that I tell myself I can wear for a long time. That’s the way I like to think about my ceramics – they have to stand the test of time. My personal style is a willingness to look good but not stand out too much.
The craft industry in Germany is facing a massive shortage of apprentices. What do you value in your work, and do you see a sustainable future for ceramics?
Craftsmanship will endure because there will always be people who fall in love with the craft and understand its value. It won’t die, simply because people will always be willing to make sacrifices for something that brings them joy. Moreover, encouraging younger generations to engage in craftsmanship is almost a political act. It helps them recognise the value of handmade items and appreciate the time and effort invested in creating them.
Your Instagram account boasts an impressive 123,000 followers interested in your work. To what extent does your community fuel your creative process?
I’m incredibly fortunate to have grown such a large following over the years. When I imagine all those people in one room, it’s overwhelming to think about how many are seeing my work. It’s both amazing and a little bit scary at the same time. Social media is a great place to connect with others, get inspired and discover new things. We all need reassurance and positive feedback for our creations. However, it also brings constant pressure, and sometimes I spend too much time online, losing sight of the vast audience watching.
If you were to craft your ideal day in Berlin, which spots would you go to and recommend others to visit?
A perfect day would start with coffee and breakfast at Companion or Isla, followed by a swim at Sommerbad Neukölln. For lunch, Café Piter is a favourite. I’m also still obsessed with Tempelhof. It’s refreshing to walk there and enjoy the open space and tranquillity. Despite Berlin’s nightlife reputation, I like to go to sleep early, so after a nice walk outside I go home so I can get up early the next morning!
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“Craftsmanship will endure because there will always be people who fall in love with the craft and understand its value.”
