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Details of cups from 365 piece installation “A Year and A Day” in the gallery. Image courtesy of Ty and Chey.
Details of cups from 365 piece installation “A Year and A Day” in the gallery. Image courtesy of Ty and Chey.

What A Cup Can Hold

Aubrey Sloan

August 23, 2026

Aubrey holding “A Day” the 365th piece from the installation of “A Year and A Day.” Image courtesy of Ty and Chey.A cup does not require explanation.

People already know it through use, touch, routine, and memory.

Production pottery has always been about putting work into people's daily lives. Pots become part of morning routines, shared meals, kitchen shelves, and family histories. They move quietly through our lives as they are incorporated into daily rituals and collective gatherings.

Production pottery is the foundation of my ceramic practice. I've been making pottery since 2010. Every pot is an opportunity to explore a curve, refine a form, and better understand the material. Thousands of mugs, bowls, vases, and cups taught me craftsmanship through repetition.

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Aubrey Sloan in front of the installation “A Year and A Day.”Image courtesy of Ty and Chey.

Author Bio

Aubrey Sloan

Aubrey Sloan is a ceramic artist based in Portland, Oregon. Raised in West Texas, she earned a BFA in Studio Art with an emphasis in ceramics from Angelo State University before relocating to Portland, where she built her career as a working potter. Since joining Stark Street Studios in 2018, she has developed a practice that bridges functional pottery and conceptual installation, grounded in years of production pottery, community engagement, and craftsmanship.

Sloan's work explores how labor, repetition, and sustained attention become embedded in material over time. Through hand-carved vessels, porcelain sculpture, and immersive installations, she investigates themes of labor, cyclical time, resilience, and care, creating work that invites viewers to slow down and recognize the accumulated attention held within handmade objects. Her practice is rooted in the belief that craftsmanship is not separate from conceptual meaning, but one of its most powerful forms.

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