Sydney-based ceramicist Tee McManus creates contemporary hand-built ceramics that celebrate texture, repetition and organic form. Best known for her distinctive fluted ceramic vessels, Tee's work explores how rhythm and craftsmanship can transform simple forms into sculptural objects with quiet presence.
Working primarily in stoneware, every piece is carefully hand-built, allowing subtle variations in shape, texture and finish to emerge naturally through the making process. Her signature fluted surfaces, created through repeated vertical lines, give each vessel movement, depth and a tactile quality that invites closer appreciation. The result is a collection of contemporary ceramics that blur the line between functional object and sculpture.
In this interview, she shares the inspiration behind her practice, the evolution of her signature style, and why slowing down and embracing the handmade process remains central to everything she creates.
What made you interested in ceramics as a practice?
After having my two children, I found myself craving a creative outlet that felt calm, grounding and completely different from my desk-based work. I'd admired and collected ceramics for years, fascinated by how a simple piece of clay could become something both beautiful and functional.
Eventually, curiosity got the better of me and I decided to try wheel throwing. What began as a creative escape quickly became something much more- I fell in love with the process, the rhythm of the wheel and the endless possibilities of clay.
You've spoken openly about a ceramics class that almost put you off clay for good. Looking back, what did that experience teach you?
I studied ceramics for one semester at The College of Fine Arts more than 20 years ago, and it almost convinced me that clay simply wasn't for me. For reasons I still can't quite explain, I chose to work with porcelain—the most challenging clay body for a beginner. Almost everything I made cracked or broke, and after a semester of hard work, I had very little to show for it. At the time, the process felt painfully slow, unpredictable, and incredibly frustrating.
Looking back now, I realise it wasn't ceramics that was the problem - it was my choice of material. Had I started with a more forgiving clay body, my experience may have been very different.
In many ways, that early disappointment has become one of my greatest lessons. Clay has taught me patience, resilience, and how to let go of perfectionism. It's a wonderfully humbling medium; no matter how much experience you have, it always has the final say. I've learned to embrace its unpredictability and to see beauty in the subtle imperfections and unexpected outcomes. That shift in perspective has influenced not only the way I make ceramics, but the way I see objects-and perhaps life-as a whole.
Where do you find inspiration for your work?
The heart of my work is centred around two ideas: creating beauty from every angle and exploring how a vessel can exist both as a functional object and sculptural form. I love making pieces that feel complete on their own, whether they're holding flowers or simply standing as an object to be admired.
I'm deeply inspired by Japanese design and its sense of restraint, simplicity and quiet beauty. I travel there once or twice a year, and every visit leaves me creatively recharged by the architecture, craftsmanship, gardens and everyday details.
I've also always been captivated by florals and foliage. At one stage I even dreamed of becoming a florist, but instead I found my own way of working with flowers by creating the vessels that hold them.
How has your practice evolved over time?
At its core, my work has always been about creating beautiful objects, and that feeling has remained constant even as the work itself has evolved. One of the biggest shifts has been my exploration of linework. It began with fluting, a texture I still absolutely love. Covering an entire vessel in rhythmic lines was what first made me fall in love with the expressive potential of surface and texture.
Over time, that fascination with linework has become much freer and more intuitive, influenced by my ongoing obsession with foliage and florals. The lines now feel less structured and more organic, almost as though they’re growing across the surface of the clay. That evolution has brought a noticeable shift to my practice.
While fluted pieces will always have a special place in my heart, I’m equally excited by experimenting with new textures, surfaces, and ways of making. I’m constantly trying to push my work a little further, and honestly, that sense of exploration is one of the most joyful parts of being a ceramic artist.
How do you approach experimentation?
Experimentation is a huge part of my practice, and over the last two years it's been largely driven by preparing for my exhibitions with Sibu Gallery alongside painter Anna Curnuck. Working towards an exhibition gives me the freedom - and the deadline - to push ideas further, take creative risks, and explore new directions that I might not otherwise have pursued.
Outside of exhibition mode, experimentation happens on a much smaller scale. I often make miniature vases that become little studies in form, texture, and glaze. They're quick to make, low-pressure, and allow me to test an idea without overthinking it.
I really thrive in this way of working. I love the pace of making smaller pieces and the sense of liberation that comes from simply trying something different to see where it leads. Some experiments never go beyond the studio, while others become the starting point for an entirely new body of work. That's one of the things I love most about ceramics - you never know where one small idea might take you.
How do you approach the balance between art and function?
I think my background as a commercial graphic designer has naturally shaped the way I approach ceramics. I've always been drawn to the intersection of beauty and purpose, so that practical way of thinking is embedded in every piece I make. Whenever I'm creating a vessel or object, I'm constantly asking myself: Is it functional? Is it still beautiful?
For me, those two qualities should never compete- they should enhance one another. I love making work that sits comfortably between sculpture and everyday object, where a vase can be admired on its own but is equally at home holding flowers or becoming part of someone's daily rituals.
Ultimately, I want people to live with my ceramics rather than simply display them. There's something incredibly rewarding about knowing a piece is being used, enjoyed, and woven into everyday life. I believe beautiful objects are at their best when they're both admired and lived with.
What are you working on now and what can we expect next?
I'm currently developing something I've wanted to explore for a long time - a lighting collection! I finally have a design I'm genuinely excited about and look forward to releasing it soon.
One of the things I love most about working with clay is that there's always another idea waiting to be explored. My practice continues to evolve as I experiment with new forms, surfaces and materials.
What do you hope people take away, or feel from your work?
I hope people simply enjoy living with my ceramics and that they become part of their everyday lives. More than anything, I want each piece to be treasured and kept for years to come - to age gracefully, collect memories, and perhaps even be passed onto someone else. Creating objects with a sense of longevity is incredibly important to me.
SHOP THE COLLECTION
Tee McManus' work is a celebration of simplicity, craftsmanship and the beauty of repetition. Through thoughtful hand-building techniques and her distinctive fluted forms, she creates ceramics that feel timeless, tactile and deeply connected to the handmade process.
Her vessels bring sculptural presence to contemporary interiors while remaining beautifully understated, making them equally suited to collectors, interior designers and anyone who appreciates thoughtful craftsmanship. Every piece reflects the subtle variations that come from making by hand, ensuring no two works are ever exactly alike.
At Kerrie-Ann Jones Gallery, we're proud to represent Tee McManus and share her latest handcrafted ceramics with collectors and design lovers across Australia. Explore the newest collection online HERE or visit our Sydney gallery to experience the texture, detail and artistry of her work in person.
FAQ: TEE MCMANUS
Who is Tee McManus?
Tee McManus is a Sydney-based ceramicist known for her contemporary hand-built stoneware vessels. Her work is recognised for its distinctive fluted surfaces, organic forms and focus on texture, craftsmanship and repetition.
What is Tee McManus known for?
Tee McManus is best known for her fluted ceramic vessels. Created through repeated vertical lines, her signature technique gives each piece rhythm, movement and a sculptural quality while highlighting the beauty of handmade ceramics.
What materials does Tee McManus use?
Tee works primarily with stoneware clay, hand-building each vessel individually. This process allows subtle differences in shape, texture and finish to develop naturally, making every ceramic unique.
Are Tee McManus' ceramics handmade?
Yes. Every piece is individually hand-built by Tee McManus. The handmade process means each vessel has its own character, with slight variations that celebrate craftsmanship and authenticity.
Are Tee McManus' ceramics functional?
Many of Tee's ceramics can be enjoyed as both functional and decorative objects. Whether displayed as sculptural vessels, styled on shelving or used to hold botanical arrangements, her work is designed to bring texture and warmth into contemporary interiors.
Where can I buy Tee McManus' ceramics?
Original ceramics by Tee McManus are available through Kerrie-Ann Jones Gallery. As each piece is handmade and one of a kind, availability changes throughout the year as new collections are released.
Why are Tee McManus' ceramics popular with interior designers?
Interior designers are drawn to Tee's work for its timeless forms, tactile surfaces and sculptural simplicity. Her ceramics complement a wide range of interior styles while adding texture, craftsmanship and a quiet architectural presence.
What makes Tee McManus' ceramics unique?
Tee McManus has developed a distinctive signature style through her signature fluted vessels. Combined with hand-building techniques, organic forms and a restrained aesthetic, her work creates a balance between sculpture, function and contemporary Australian design.
Where is Tee McManus based?
Tee McManus lives and works in Sydney, Australia, where she creates her collection of handcrafted contemporary stoneware ceramics. Her pieces are available to view in person at our Sydney showroom.
