At Original BTC, we love designing and making beautiful lighting. There is a particular satisfaction in creating objects that do more than serve a function, but also shape the atmosphere of a room.

That belief is shared by many whose work moves beyond utility to something more enduring, and in our new series In Real Life we visit the homes and studios of inspiring creatives who have chosen our lights.

We begin with ceramicist and illustrator Polly Fern, whose hand-painted ceramics and lyrical illustrations are admired for their charm and whimsical detail.

After studying Art & Design at Great Yarmouth College, Polly went on to complete a degree in Illustration at Norwich Art School, where she first discovered ceramics. Today, she works from a restored 17th-century studio and showroom in Bungay, Suffolk, creating tin-glazed earthenware and homeware collections that feel both timeless and personal. 

Her talent has brought her to an international audience, including a commission from the Metropolitan Museum of Art in New York and exhibitions from London to Japan. With a devoted Instagram following of over 100,000, her work now resonates far beyond her Suffolk workshop.

At home and in her studio she chose our pendants, their quiet presence complementing her artistry and blending into the spaces she has so carefully shaped. Here, Polly shares more about her practice, her surroundings, and the influences that continue to inspire her.

You began your career as a trained illustrator. What drew you toward working in pottery and ceramics?

I started working with clay in my second year of university whilst studying illustration. The tutors really encouraged us to explore different mediums and forms of storytelling. I’ve always crafted objects by hand, and my degree show ended up mostly consisting of ceramics.

Where did your joy in playful/whimsical designs/illustrations come from?

It’s hard to pinpoint this as drawing is something I’ve done for as long as I can remember. I went to a tiny rural Primary school where I had a very magical time. The headteacher was an artist, and one of my core memories is painting sunflowers with her outside. I adored the work of Brian Froud, in particular the book ‘Faeries’ that he created with Alan Lee. I treasured my copy and flicked through it most days, being transported into another world; it was true escapism.

What's your definition of beauty in the context of creating objects and spaces?

It's very subjective, of course, but for me, I think it is considered design, with an appreciation for materials and craft over mass manufacturing. The combination of materials is, I think, quite important to me, whether this be brass, ceramic, plaster, fabrics, or timber; I enjoy the way these materials all play off one another. I am also very much drawn to antique objects as I find them very grounding.

What does the medium of ceramics mean to you personally and artistically? 

Personally, my time when making ceramics is like therapy for me; it's a time when I can totally focus on what is in front of me and nothing else. I spend a lot less time than I’d like to making these days as my business has grown, but the time I do spend is very important to me. I am a multi-disciplinary artist, working across many different areas, but I find that my ceramics are where I am always trying new things and experimenting.

Do you have a favourite piece to make (or a type of form or shape), one that always excites you or gives you joy?

I always enjoy making my vases and working on lots of different shapes, or figuring out how to create a new shape. I always create paper maquettes before starting a vase in clay.

At Original BTC, we know how much time and care it takes to perfect bone china by hand. Since ceramics is a medium we both work in, what has been the biggest challenge for you, and how have you found ways to overcome it? 

It's taken me many, many years to develop my practice and to be at a place with it where I am happy.

"My friend once told me that clay has a memory, which I think is a perfect description."

Sometimes you can work on a piece and think it is going well, only to unload a kiln firing to something completely unexpected— sometimes for the best or for the worst! I find the only way of overcoming issues within ceramics is to ask other potters' advice, and then test, test, test!

How does lighting (natural or artificial) impact your workday, your mood, or the way you see your pieces? 

Lighting is incredibly important to me as I am working, as everything I work on is so visual, from intricate paintings to hand-building vases. It must be lit properly. But also, it affects my mood immensely, so I don’t like bright overhead lighting.

You’ve chosen some striking Original BTC pieces for your spaces — the Cobb in your living area, the School light and Pembridge pendant in your studio. What drew you to these designs, and how do they shape the atmosphere where you live and work? 

They all fit my spaces so well. The showroom in my studio is where the Pembridge hangs; it's more of a formal space in comparison to my ceramic room, so this reflects the feeling so well, but I also love how it is ceramic and ties into my work.

I couldn't think of a more suitable light than the School Lights in my workroom. It’s a more informal room, with panelled walls and a limewashed beam; these lights span domestic and industrial nicely, which I feel reflects the room well.

I recently redecorated my living room at home and painted it a light grey/blue, and wanted it to feel more serene and relaxing than it had been previously. The Cobb light is very gentle and a lovely, simple design which fits in perfectly.

What books/places/objects etc have recently inspired you or captured your interest? 

I recently found an amazing book on American Folk Portraits; the primitive paintings and the colour palettes are very inspiring. I have started picking up antique papier-mâché snuff boxes when I find one that catches my eye.

My most recent find is quite mysterious and has a painting of a man carrying a woman concealed in a sheaf of corn, whilst carrying a basket of food! I’ve tried doing some research, but haven’t found any background on the piece so far… it’s certainly interesting!

When you’re not in your studio drawing or making pottery, where might we find you (places, routines, hobbies)? 

I am lucky to live in the market town of Bungay, which has an amazing creative community. We are also just 30 minutes from Norwich, where I love to spend time, it's a city of independent businesses with so many incredible venues, shops and restaurants.

When I can find the time, I love to walk with my two whippets. Unfortunately, my Whippet suffered a slipped disc earlier this year, which turned my world upside down, so it's been a year of intense rehab and physio for us. I love antiquing and going to fairs, and finding local hidden treasures such as interesting local vernacular buildings that I’ve never come across before!