Devin Wilde’s journey into ceramic design is as much about rediscovery as it is about innovation and refinement. Born and raised in Brooklyn, New York, Wilde’s early fascination with architecture led him to Stanford, where he honed his understanding of structure and form. However, it was his enduring love for hands-on creation, craft, sculpture and the tactile satisfaction of making, that eventually guided him toward ceramics. Today, his work sits at the intersection of art and utility, drawing influences from Art Deco, Postmodernism and Classical architecture to conceive designs that feel both timeless and of-the-moment.

Since launching his eponymous design practice not too long ago, Wilde has released two collections that reveal the breadth of his vision. Series No. I, a debut suite of ceramic vessels, showcased his ability to evoke history and modernity in equal measure. The collection consists of intricately crafted pieces with bold geometric silhouettes and richly textured glazes. These struck a balance between fragility and resilience, appearing as though excavated from ancient ruins, yet shaped by contemporary sensibilities. The glazes, ranging from finishes mirroring the sheen of weathered metals to earthy tones recalling timeworn patinas, offered each piece a story steeped in both antiquity and contemporaneity.

Building on that foundation and success, Wilde's second collection, Series No. II, marks a bold move into the realm of furniture design. Comprising side tables and cocktail tables crafted entirely from ceramic, the collection scales up many of the motifs from his earlier, most celebrated pieces. Hypnotic surface reliefs and delicate, ornamental ball finials lend each form both structure and expression. Wilde approaches geometry not merely as a formal constraint here, but as a tool for 'creating drama with light', merging an almost ancient sensibility with present restraint through visual rhythm.

His signature glazes—metallic, earthen, elemental—continue to shine here, evoking both architectural facade designs and natural textures. "Decor and furniture are experienced differently in the home; the latter being more tangibly interacted with every day," the ceramicist and designer notes. "My intent is to offer utilitarian works of art that are visually striking and work well in a wide breadth of spaces and intents.”

Wilde’s architectural background plays a crucial role in both collections. Each piece is meticulously engineered, with hidden supports ensuring strength while preserving the material's one-of-a-kind, handcrafted character. Together, the result reveals a design language that's rooted in history as well as unafraid to appeal to current tastes. These furniture forms echo built history – from fluted motifs and rhythmic ridges reminiscent of Greek and Roman columns to sculptural proportions that recall the monumental facades of postmodern architecture. These classical references, subtly embedded in form rather than just ornament, anchor his contemporary language in centuries of architectural tradition.

In an exclusive conversation with STIR, the designer reflects on his creative journey and inspirations, apart from the philosophies that ground his practice.

Aarthi Mohan: What inspired you to pivot from architecture to sculpture and ceramics? Was there a defining influence behind that shift? In what ways does one discipline inform the other?

Devin Wilde: Ceramics and handmade crafts have always [been] part of my life, in one way or another. I think it was my path all along; it just took time to find the courage to pursue it as a career. The turning point came when I asked myself, ‘What do I want my day to look like?’ The answer was clear: to design and make things with my hands – that realisation set me on this journey. Architecture continues to play a significant role in my practice, especially when addressing the challenges of scale and structure in functional ceramic furniture.

Aarthi: You describe your work as exploring "ancient and distinctly modern sensibilities”. Can you share an example of that convergence?

Devin: A perfect example would be the glaze choices in my debut collection of vessels. Glaze can dramatically alter a piece’s narrative, either pulling it towards a marriage of modern and ancient, or pushing it away. Many of the glazes I use incorporate metal oxides, which, when fired, develop textures and colours reminiscent of weathered metals. This patina creates a sense of age, as though the pieces were unearthed from centuries past, while their forms remain resolutely modern. That interplay of past and present is integral to my work.

Aarthi: How has growing up in Brooklyn shaped your design language? Do elements of the city influence your work?

Devin: Brooklyn’s architectural diversity has profoundly influenced my design approach. The city is a treasure trove of classical and modernist structures, each telling a story through light and shadow. When working on new designs, I often take long walks, photographing architectural details and the way sunlight interacts with them. These explorations fuel my creative process, providing more inspiration than I could exhaust in a lifetime.

Aarthi: What role does imperfection, natural to the ceramic process, play in your work? Do you embrace it, or are you seeking something closer to architectural precision?

Devin: I wholeheartedly embrace the imperfections. While I’m naturally inclined toward perfectionism, I’ve come to appreciate the unique character that these inherent imperfections in ceramics bring. They are reminders that these are handmade objects, each carrying the imprint of its maker. Accepting this has been therapeutic, not only for my art, but also for my outlook.

Aarthi: You reference Postmodernism, Classical styles and Art Deco influences in your work. Are there specific architects, artists or designers who you would say have significantly inspired your practice?

Devin: Absolutely. Cross & Cross, the architecture firm behind the General Electric Building, is a major influence. That skyscraper is a masterpiece of detail and form. Josef Hoffmann’s ability to incorporate ornamentation while remaining modern across mediums such as furniture, architecture, objects and everything is endlessly inspiring. Lastly, Emile-Jacques Ruhlmann’s Art Deco furniture, with its impeccable craftsmanship and elegance, serves as a benchmark for my work.

Aarthi: You also describe your pieces as “utilitarian works of art”. How do you define the balance between art and functionality in your large-scale ceramic furniture?

Devin: The distinction is in how the pieces are experienced. Art is primarily visual, while furniture invites tactile interaction. My goal is to create designs that are both visually striking and practical for daily life. This balance is particularly evident in my latest collection of tables, where structural engineering ensures durability, while aesthetic choices maintain their artistic integrity.

Aarthi: Is there a material or technique outside ceramics that you would like to experiment with?

Devin: I’ve been drawn to metals recently, particularly for their strength and the endless possibilities for patination. Metals allow for finer connection points than ceramics, which opens up new design opportunities. Exploring this material feels like a natural progression for my practice.

Working with ceramics at this scale is a feat in itself; more often associated with sculpture and vessel-making, the material demands a level of precision, planning and patience when extended to furniture design. Wilde embraces the challenge of transforming this fragility into function. Each table or surface becomes a study in balance—between mass and finesse, surface and shadow, the artistic and the utilitarian. What emerges is a body of work that resists typical categorisation; too sculptural to be conventional furniture, too intentional to be pure ornament. His creative practice invites a reconsideration of how we engage with the objects in our spaces and how material, memory and utility can intersect in ways that feel at once restrained and resonant.