Conversation with Dimitris Papailias: Sway Ceramics
We are thrilled to introduce our latest interview with Dimitris Papailias, the talented ceramicist behind Sway Ceramics. Originally from Greece, Dimitris brings a deep connection to craftsmanship and materiality, creating pieces that balance form, texture, and movement. In this conversation, we explore his journey into ceramics, the inspirations behind his work, and the meticulous process that shapes each unique creation.
What first drew you to ceramics, and how did you discover your passion for working with clay?
Ceramics came into my life serendipitously when I was looking for a different medium to work with my hands. I had no expectations at the time, and that’s when the magic happened. I enrolled on an 8 week wheel-throwing course that granted me access to a ceramics studio as a member, and there I started hand building and exploring the possibilities that clay had to offer.
Can you tell us about a moment or project early in your career that solidified your desire to pursue ceramics as a craft?
There was a pivotal moment in my life when I helped a good friend of mine set up a photography studio in East London from ground zero. The entire experience had deeply inspired me to pursue ceramics as a craft and professional career. There is something soulful in witnessing clay taking shape - from dirt to something precious which will stand the test of time.
How do you approach designing a new piece—do you start with a clear vision, or does it evolve organically during the process?
Every time I start a new piece, I mostly have a clear vision of the final outcome — at least in terms of form. As I progress the pieces, there’s always a moment where I venture on a different path completely. New forms are felt. I also tend to keep half-finished pots in the studio so I can take time to study them until I feel inspired to do the final glazing.
My work is based on textures that I create by layering different glazes and slips. However, you can't say that everything is spontaneous—it's an experiment that evolves.
Other times, my work is more focused on form. I may start with a sketch and work slowly because I know exactly what I am aiming for. For more sculptural pieces, I normally use a single type of clay and leave the exterior raw and unglazed to draw emphasis to the form.
What role does experimentation play in your work, and have you ever had a “happy accident” that turned into something beautiful?
The whole journey is a happy accident.
I am always keen to explore alternative methods of firing, such as wood, gas and raku firing. The outcome is always spontaneous, unexpected and mostly beautiful.
One could never be bored experimenting with clay bodies and glazes. Changing one ingredient in your glaze recipe could lead you to a whole different world.
What does working with clay mean to you personally, and how does the material itself influence your creative expression?
The versatility of clay paves way for an endless exploration of the unknown, a space where creative vision resides. There is an infinite possibility when it comes to working with clay.
Do you have a favourite type of clay or glaze you work with, and why is it significant to your process?
I am drawn to groggy clay, a body which is rich in textures. In terms of glazing, the process tends to be slow and intentional. The final aesthetics is a combination of layered slips and reactive glazes.
Where do you find inspiration for your work—nature, culture, people, or something entirely different?
I believe that the culture of the place where you grew up and everything you have experienced so far will be reflected in everything you do in the future, especially when you create art that comes from you.
It is important to understand your roots, embrace them and let them be involved.
Are there any ceramicists, artists, or movements that have shaped your style or philosophy?
Alana Wilson, Nancy Fuller and Akiko Herai. I’m inspired by their delicate works, the slow-making processes, and the connection to their roots and heritage.