Melbourne (Naarm)-based ceramic artist Tantri Mustika creates contemporary ceramics that celebrate colour, pattern and craftsmanship. Working primarily in stoneware, her hand-built pieces are recognised for their richly marbled clay, expressive surfaces and sculptural forms, bringing together art, design and functionality in a distinctive visual language.
Drawing inspiration from architecture, nature and her Balinese heritage, Tantri's ceramics explore the relationship between pattern, texture and form. Her collections, including Ukiran, incorporate carved motifs, layered surface techniques and intricate marbling, resulting in one-of-a-kind pieces that feel both deeply personal and beautifully considered. Whether displayed as sculptural objects or used within the home, her work brings warmth, movement and individuality to contemporary interiors.
In this interview, Tantri shares the inspiration behind her creative practice, how her cultural heritage continues to shape her work, and why experimentation with colour, pattern and material remains at the heart of every ceramic she creates.
How did your journey with ceramics begin?
I first discovered ceramics about 11 years ago while I was still working in my first career as a hairdresser. At the time, hairdressing no longer felt like the creative outlet it once had, so I was looking for something hands-on to explore outside of work. I’d always dabbled in different creative hobbies, but clay was the one that truly stuck.
I became completely obsessed. I’d take clay to work with me and make little pieces out the back between clients, then spend almost every spare moment outside the salon making ceramics. Looking back, it sounds a bit wild—but I couldn't get enough of it. At that stage it was still just a hobby, but I kept feeling these little nudges that there was something more to explore. I even found a perfectly good pottery wheel abandoned on the side of the road just after finishing a 10-week throwing course, which felt like a pretty clear sign from the universe!
The real turning point came when I travelled through America for three months. From New York to San Francisco, I discovered independent stores filled with beautiful handmade ceramics. It was the first time I'd seen pottery presented as contemporary design objects rather than simply functional wares, and it planted the pipe dream that maybe I could one day sell my own work. The idea arrived just as I was facing the reality of returning to work in the salon, and I couldn't shake it.
Once I was back in Melbourne, I dropped one day a week from hairdressing so I could give ceramics a proper chance. Friends started asking to buy pieces for wedding gifts and birthdays, and that was the first real moment I thought, maybe this could actually become something.
So I built a website, designed a logo, and took the leap. Somehow, that little side hobby grew into a full-time career, and I've now been making ceramics professionally for almost nine years
Where do you find inspiration for your work?
I’m inspired by everything. That might sound vague, but after building a life and career around creativity, I’ve come to realise that inspiration exists everywhere if you’re paying attention.
Nature is perhaps the greatest teacher. It offers endless lessons through its cycles, reminding us that the natural world often mirrors the human experience. It provides impeccable colour palettes, many recurring motifs, and creates in a way that no two things are ever exactly the same. I’m constantly looking to nature for both visual inspiration and deeper meaning.
More recently, I’ve found myself drawing heavily from my Balinese heritage and the rich visual language of the island’s unique culture. As my practice has evolved, my work has become less about simply making beautiful objects and more about unpacking memories, understanding my identity, and reflecting on how my lived experiences have shaped the way I see the world. With that said, sometimes it is just about making something beautiful and pleasing to the eye…
Making has become a way of stepping away from the constant noise of everyday life and meeting myself through the act of creation. Once an idea takes hold, I begin to see it everywhere - it becomes almost impossible to ignore until I’ve explored it through clay.
And then there’s one of my favourite sources of inspiration: vintage Architectural Digest. I could happily spend hours flipping through old issues to discover unexpected colour combinations and the visual stories of different moments in time.
How did you develop your signature style?
I think my style has evolved quite naturally over time, with each body of work unlocking the next. Early on, I became known for my colourful terrazzo-inspired pieces, where I first used stained and marbled clay to emulate the beauty of natural stone.
From there, I began applying those same marbling techniques to larger, more complex forms, constantly pushing the boundaries of my skills and the material itself. That eventually led to the carved floral and folkloric motifs of my Ukiran series, which marked my first sustained exploration of Balinese artistic traditions through clay.
Now I feel I've reached a point where I have the freedom to bring all of those techniques together. Rather than feeling confined to a single aesthetic, I can combine marbling, carving, colour and form in whatever way best serves the idea, while stained and marbled clay remains the thread that runs through my practice.
There have been moments where I've questioned whether my work has a clear through line, but with distance and time I've realised it always does. Every piece is unmistakably mine - an expression of my experiences, my heritage, and the way I interpret the world around me.
Why is hand-building central to your practice?
I’ve always been drawn to the slower pace of hand-building over wheel throwing. It’s mostly a personal preference that became clearer over time - and perhaps partly out of necessity because I always forget to breathe when I’m throwing on the wheel! Ha!
What I love most about hand-building is the sense of freedom it offers. I’m not constrained by the limitations of the wheel, so I can create forms that feel more sculptural and intuitive. I also embrace the irregularity and imperfections that come with the process. Those subtle variations are what give each piece its own personality and remind you that it was made entirely by hand rather than processed and made with machinery.
How has your heritage shaped your visual language?
I don’t think there’s such a thing as a typical work day for me. Every day brings something different, and that’s one of the things I love about running my own creative practice. That said, every day always begins the same way - with a coffee and a list of everything I need to tackle.
Once I get my hands into the clay, time has a funny way of disappearing. I can become completely absorbed in the process and often don’t realise how much time has passed until my “time to go home” alarm goes off. (which I generally snooze almost everyday)
The ongoing challenge has been finding the right balance between being an artist and being a small business owner. As my practice has grown, so has the list of responsibilities that come with it, and I’ve been working hard to create better systems within the studio that allow me more time and space to focus on the creative side of my work.
I’m currently in the process of expanding my team to help share the workload, streamline production, and improve delivery times. It’s an exciting new chapter, and I’m looking forward to creating more balance so I can continue nurturing the part of the practice that inspired me to begin with - the making.
How do you approach colour and pattern?
When it comes to colour and pattern, I definitely draw on understanding of colour theory learnt through my hairdressing years, as well as the endless inspiration found in nature and of course, cultural art practices such as Batik and Carving.
My creative process is very much led by experimentation. Every time I fire the kiln, I’m trying to discover something new - whether that’s testing a new coloured clay, exploring a new technique, or gathering more information from the process itself. I’m constantly learning through making.
What I’m most drawn to is the surface depth that comes from layering marbled clays rather than applying colour to a flat surface. I love that there is always an element of surprise, and that the final result comes from a balance between techniques I’ve developed over time and a more intuitive response in the moment.
I often have so many ideas that I’ll make small side projects alongside larger works just to get those ideas out of my head and into the clay. It may be a slightly chaotic way of creating, but I’m more interested in following what feels creatively honest rather than making what I think people expect. Finding that balance as an artist who also runs a business is an ongoing dance, but it’s one I believe is worth navigating.
How do you balance precision and imperfection?
I think the handmade nature of my work naturally results in something that is perfectly imperfect. My approach is to strive for as much refinement and care as possible throughout the making process, knowing that the human touch will always leave behind subtle variations and unique characteristics.
Each piece requires a high level of attention to detail, patience, and practiced skill, but despite this, no two works will ever be exactly the same. The small quirks and “perfect flaws” are what make the works special.
I’m naturally quite a perfectionist, but ceramics has taught me that you also have to learn to let go. Clay is a material that, for all intents and purposes, is nearly impossible to be completely in control of. We’re working with natural elements, and once a piece enters the kiln, there’s always an element of surrender - it becomes a little bit of “let’s see what the kiln gods serve this time.”
That unpredictability is part of the magic of ceramics, and it’s something I’ve learned to embrace rather than fight against.
How did it feel to see your work as part of Studio Shield's exhibition 'Synthesis' for Melbourne Design Week?
Having my work included in such a wonderful group show was a huge honour. It was incredibly special to see the pieces presented within such a warm, layered and inviting environment, imagined and brought to life by Ruby Shields of Studio Shields.
Ruby has a beautiful approach to interiors - she isn’t afraid of colour, layered textures, or embracing a very thoughtfully and measured “more is more” approach (which in my opinion can be hard to pull off well). The space felt both elevated and lived-in, allowing each work in the exhibition to exist not just as an artwork, but as something you could genuinely imagine living alongside every day.
It was a joy to see my pieces in conversation with the space and the other works in the show. To have my ceramics presented within such a considered context, alongside some of Australia’s leading designers, was a very special experience.
What are you working on now and what can we expect next?
At the moment, I’m working on a very exciting commission for the new Powerhouse Parramatta museum through YSG Studio. This will be my first commission of multiple standing lamps, which will be placed within the residential suites of the new museum -truly a dream project.
Alongside this, I’m continuing to create custom works for private clients through interior designers, as well as developing new pieces for my select stockists and upcoming online releases.
I also have a few other exciting projects quietly unfolding behind the scenes, so there’s lots to look forward to. It feels like a really special time for my practice, with many new opportunities on the horizon.
What do you hope people take away, or feel from your work?
Ultimately, I hope people can feel the care and love that has gone into creating each and every piece. I hope the work brings a sense of groundedness and offers moments of reflection—reminding us that life is made up of many experiences, transitions, and cycles that we are all navigating in our own way.
Through exploring my heritage and ideas of belonging, I hope the work encourages viewers to reflect on their own experiences of connection, identity, and place.
For the pieces that find their way into people’s homes, I hope they bring joy, but also serve as gentle reminders that we don’t need to strive for perfection. I hope they encourage people to slow down, notice the beauty around them, and appreciate the complexity of life and our own lived experiences.
SHOP THE COLLECTION
Tantri Mustika's work is a celebration of colour, craftsmanship and cultural storytelling. Through her thoughtful approach to hand-building, marbled clay and richly layered surface decoration, she creates ceramics that blur the line between sculpture and function while remaining deeply connected to tradition and place.
Her distinctive visual language has earned recognition within contemporary Australian ceramics, including her inclusion in Synthesis at Melbourne Design Week 2026, where art, design and interiors came together in an immersive exhibition. Whether collected as sculptural objects or incorporated into everyday living, Tantri's ceramics bring texture, character and artistry into the home.
At Kerrie-Ann Jones Gallery, we're proud to represent Tantri Mustika and share her latest handcrafted ceramics with collectors, interior designers and lovers of contemporary craft. Explore the newest collection online HERE or visit our Sydney gallery to experience the richness of her work in person.
FAQ: TANTRI MUSTIKA
Who is Tantri Mustika?
Tantri Mustika is a Melbourne (Naarm)-based ceramic artist whose contemporary practice focuses on hand-built stoneware ceramics. She is known for her richly patterned surfaces, marbled clay techniques and expressive use of colour, creating pieces that combine sculptural beauty with everyday functionality.
What inspires Tantri Mustika's ceramics?
Tantri's work is inspired by architecture, nature and her Balinese heritage. She explores how cultural motifs, pattern and texture can be translated into contemporary ceramic forms, resulting in pieces that are both visually striking and deeply personal.
What materials does Tantri Mustika use?
Tantri works primarily with stoneware clay, using hand-building techniques alongside marbling, carving and layered surface decoration. Each ceramic is individually crafted, giving every piece its own unique character.
What is the Ukiran collection?
Ukiran is one of Tantri Mustika's ceramic collections, inspired by carved decorative motifs and her Balinese heritage. The collection combines intricate surface carving with her signature marbled clay and expressive use of colour.
Are Tantri Mustika's ceramics functional?
Yes. While her work has a strong sculptural quality, many of Tantri's ceramics are designed to be both functional and decorative. They can be styled as statement objects, displayed on shelving or incorporated into everyday living.
Where can I buy Tantri Mustika's ceramics?
Original ceramics by Tantri Mustika are available through Kerrie-Ann Jones Gallery. As each piece is handmade, collections are released in limited quantities and availability changes regularly.
Are Tantri Mustika's ceramics handmade?
Yes. Every ceramic is individually hand-built by Tantri Mustika. The handcrafted process means no two pieces are exactly alike, making each work a unique expression of her artistic practice.
Has Tantri Mustika exhibited her work?
Yes. Tantri Mustika's work was featured in Synthesis during Melbourne Design Week 2026, an immersive interior installation curated by Studio Shields that explored the relationship between art, design and domestic space.
Why are Tantri Mustika's ceramics popular with interior designers?
Interior designers value Tantri's work for its sculptural forms, vibrant colour palettes and richly textured surfaces. Her ceramics bring individuality, craftsmanship and artistic detail to both residential and commercial interiors.
What makes Tantri Mustika's work unique?
Tantri Mustika combines contemporary ceramic techniques with influences from architecture, nature and her Balinese heritage. Her distinctive use of marbled clay, carved detail and expressive pattern creates one-of-a-kind ceramics that are instantly recognisable and designed to be lived with.
