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Craft Around the Country

Utility Objects Shifts into High Gear

Aleisha Duchateau’s Atlanta-based pottery brand embraces collaboration with major retailers and local design studios.

By Robert Alan Grand
April 21, 2025

Photo by Aleisha Duchateau

Subtle dimples are a hallmark of Aleisha Duchateau's designs for Utility Objects.

Aleisha Duchateau was still settling into full-time pottery work—a pivot prompted by the pandemic—when West Elm came calling about stocking her custom planters and ikebana vases as part of their local makers collaboration collection. “I had no idea how to operate in that capacity, especially from my apartment; my pottery wheel was just on my patio,” the Atlanta-based ceramist says with a laugh. 

Now, she works in a large, shared studio in a warehouse near Atlanta’s southwest end, making minimalist tableware and home goods as Utility Objects and collaborating with wholesale partners and shops across the country.

Duchateau’s pottery is aesthetically calm and grounding, embodying her meditative approach and drawing on Japanese and Scandinavian design. Her recent series of “rock” mugs and espresso cups looks like a sandbar covered in beach pebbles and serves as a visual record of the clay bodies she has used so far, including terra cotta and stoneware in white and charcoal.

The artist, who graduated in 2017 with a BFA in photography from Georgia State University, credits a junior-year college ceramics class with sparking her passion for clay. A volunteer work-study position at Atlanta’s Chastain Arts Center in 2019 and 2020 helped her understand the ins and outs of managing a studio, teaching classes, and producing on a larger scale.

Photo by Aleisha Duchateau

Duchateau's rock mugs and cups serve as a visual record of the clay bodies she has used so far, including terra cotta and stoneware in white and charcoal.

In summer 2020, Duchateau decided to take the leap to full-time production pottery, even though she wasn’t sure she’d succeed as an Afro-Latina. “There aren’t a lot of independent studios run by women of color here in Atlanta, and it was tough at first to find my way.”

Those early struggles, however, helped her refine her aesthetic and underscored the importance of sharing her story and resources with fellow potters—whether by offering advice on Instagram to potters internationally or by providing kiln services to local ceramicists just starting out.

Today, Duchateau’s craft is a solid business, but she admits that “anything retail is a challenge” in tough economic times. Her advice to fellow makers is simple: “Hang in there, ride the wave, and try to pivot as much as you can.” 

What’s next on Duchateau’s docket? Transitioning towards slipcasting, a more sustainable method for the artist that will help her increase her output, while also embarking on a collaboration with Open Air, an Atlanta-based botanical design studio, on specialized pieces, including kokedama vessels and new vases. “It’s different,” she says, “but it makes the work exciting.”

Photo by Aleisha Duchateau

Duchateau with her dog.

  • Photos by Aleisha Duchateau

    Duchateau throws on the wheel.

  • Dimpled cups await firing.

  • Duchateau unloads a piece from the kiln.

Robert Alan Grand is a writer and photographer based in Asheville, North Carolina. He received the 2025 Andy Warhol Foundation Arts Writers Grant to cover contemporary art in southern and central Appalachia.

Visit Utility Object online to learn more about Duchateau’s pottery.

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This article was made possible with support from the Windgate Foundation.

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