Meet Steinunn | Ceramic Designer and Maker

We had the good fortune of connecting with Steinunn and we’ve shared our conversation below.

Hi Steinunn, what led you to pursuing a creative path professionally?
I’ve always loved art and being creative. From a young age, I chose weekend art classes over sports, inspired by my family’s appreciation for art and design. My mother is an architect, and for years she and my aunt ran a design shop together, creativity was always around me. I think I pursued a creative career because it’s the only space where I feel fully at ease, where I can be curious, hands-on, and imaginative all at once.

That said, I initially planned to become a secondary school teacher and studied education. It wasn’t until my final year at university, while feeling isolated and stuck writing my thesis, that I took an evening throwing class at my mum’s suggestion. That class changed everything. I fell in love with the materiality of clay and the balance it offered between function and creativity.

What started as a break from academic work quickly became a passion I couldn’t ignore. I applied to study ceramics at the Reykjavik School of Visual Arts, thinking it would just be a two-year detour before returning to teaching. But my love for ceramics only deepened. I went on to complete my BA in Ceramics in Ireland, where I spent two years learning, exploring, and experimenting, even through the challenges of COVID. It was there that I began incorporating found and local materials into my work, which has remained central to my practice.

Eventually, I moved to London to pursue a Master’s at Central Saint Martins, where I developed a more research-led and design-focused approach. Looking back, this creative path wasn’t something I planned, but I’m grateful I followed it.

Now I work as a ceramic designer and maker, while also returning to teaching in a more art-related way. I currently teach ceramics to both the general public and to people with physical and learning disabilities in London, which has been a really rewarding way to combine creativity and community.

Today, my practice centres on alternative materials and sculptural objects with function, blending materiality and design. I lose myself for hours sketching, testing, and exploring materials. I’m someone who’s always been curious—I like to ask questions, poke at things, and see how they might come together. A creative path is probably the only place where that kind of restless energy actually becomes useful. I don’t think I could ever fully stop making, even if I tried.

Alright, so let’s move onto what keeps you busy professionally?
My practice is shaped by my surroundings, both familial and geographical. I often draw from my Icelandic heritage and the natural resources around me. I’m inspired by both the natural and the manmade, using materials from each to explore what they can do.

My latest collection, Landris, is made from stoneware and lava fragments sourced from home. It blends elements of urban architecture of London with Iceland’s dramatic, brutal landscapes. The series includes three ceramic artefacts that can function as sculptures, platters, or containers, offering a kind of surprising versatility. The stackable, movable forms invite people to interact with them in their own way. Getting Landris to where it is today took a lot of resilience. I was working with large plaster moulds and slipcasting at that scale for the first time, and there were plenty of failed attempts before I finally got one to work.

I’m especially drawn to the point where sculpture meets function, working right at the edge of both. I’m also deeply interested in finding alternatives to mined ceramic materials, exploring more sustainable and ethical ways of making. I use found, local, and waste materials wherever I can, and I’m currently developing a new series using materials sourced here in London and across the UK. These elements are coming into dialogue with Landris in ways I hadn’t anticipated when I began.

What excites me most is how natural and found materials take some of the control away from the maker; they bring a level of unpredictability and uniqueness that keeps the process interesting every time. That’s a big part of why I use found materials. They already carry their own history, and instead of starting from something blank or neutral, I’m responding to what’s already there. It makes the process feel more like a conversation than complete control, which I love.

Getting here wasn’t easy. There’s a lot of self-doubt in the creative field, and you have to trust in your work; self-belief is crucial. If you don’t have it, it’s hard for others to see what you see. Working independently means wearing many hats: you’re the designer, the maker, the curator, the social media manager, and more. It can be tough doing it all alone, which is why I’ve chosen to work in a shared studio. Being surrounded by other creatives gives me a support system, fresh perspectives, and a network of people who understand exactly what it’s like.

One key lesson I’ve learned is to keep going, explore different paths, and embrace the unexpected. When I started Landris, I never could have imagined it would lead me to this body of work—and that’s what keeps me excited about the process.

If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
London is huge and full of life. there’s always something happening, which is probably why I’ve never wanted to leave. It’s packed with cool places to explore, sights to see, and amazing food to try. No matter how long you live here, there’s always something new to discover.

One of my favourite spots has to be the Barbican Estate. I always tell people to grab a coffee at the café and just wander around. The architecture is incredible, and it’s the perfect place to slow down and soak it all in. They usually have exhibitions, films, or music events on too, so it’s worth checking what’s on when you’re there.

The V&A Museum is a must-see, especially the ceramics collection. I could spend hours just getting lost in the details. Another gallery I love is the Hayward; their exhibitions are always top-notch. After that, I’d head to the Southbank food market for lunch, then take a stroll along the Thames, it’s one of my favourite ways to experience the city.

When it comes to food, it’s hard to pick because there’s just so much good stuff. But I always come back to Dishoom for Indian or Kimchee in King’s Cross for Korean, both never disappoint.

If the weather’s nice, I like spending time in one of the city’s parks. Holland Park is a favourite, especially the Kyoto Garden. It’s so peaceful, and if you’re lucky, you might spot some peacocks wandering around. It’s the kind of place that makes you forget you’re in a busy city. Nearby is the Design Museum too, the exhibitions are always interesting, and their gift shop is one of the best around. Regent’s Park is another great spot for hanging out, picnics, or playing cards with friends. I’d finish the day up at Primrose Hill watching the sun go down.

For the weekend, I’d suggest checking out a vintage market, Brick Lane is always buzzing, and Portobello Road is brilliant for a good rummage. You never know what you’ll find. In the evening, I’d recommend catching a musical or grabbing a drink at a pub. London’s theatre scene is incredible. Wicked and Hamilton are my go-to favourites, but there’s always something amazing on. It’s a great way to end the day.

Who else deserves some credit and recognition?
I want to start by thanking the teachers who’ve shaped my practice, from university to ceramics. First, Ólöf Erlu Bjarnadóttir, my first throwing instructor. She introduced me to ceramics in an evening class that changed everything. Her support over the years, from offering me a job in her studio to always being there for advice, has meant a lot.

I also owe a lot to Sigurlína Osuala from the Reykjavik School of Visual Arts. She challenged me to think more deeply about my making and encouraged me to keep learning — her belief in me really shaped my path.

My time at LSAD and Central Saint Martins was Life-changing. The teachers and technicians there didn’t just pass on technical knowledge — they helped me find my voice and shape me as a designer. I’m especially grateful to PD PAOLA for the scholarship that made it possible.

I’ve also been incredibly lucky with classmates and friends whose creativity has kept me going. Especially Estelle Burton, who’s become a lifelong friend and collaborator. She’s extremely generous with her knowledge, and I’ve learned so much from working alongside her, not just about making, but about staying curious and open.

And of course, my family. Their support has been behind everything, even when I wasn’t sure what would come of it. I could mention so many others, teachers, mentors, and friends who’ve had my back. I wouldn’t be here without them, and I’m thankful for them all.

Website: https://www.steinunnbjarna.com/

Instagram: https://www.instagram.com/steinunnbjarna_design/

Linkedin: https://www.linkedin.com/in/steinunn-bjarna/?originalSubdomain=is

Image Credits
Heather Blake