As the issue surrounding sustainability escalates in discussion, artists are using their work to reveal the unfortunate turmoil our planet is faced. Oliver Akdeniz, ceramic sculptor and graduate of Central Saint Martins, University of the Arts London, is one such champion for change. Based in Sussex, his practice unfolds through narrative-rich stoneware and porcelain forms that blend captivating texture with vibrant glazes.
At the heart of Oliver's output is his environmental activism. In his Beehive Skirt and Pollen Path series, the bee becomes a poignant icon representing both the fragility and hope embedded in our ecosystem, through a meditation on the environmental impacts of fashion production and consumption. Meanwhile, his Cracked Earth collection uses crackle glaze to mimic drought-stricken landscapes, drawing attention to climate change and water scarcity. Oliver is sponsored by Gallery Les Bois, who promote his work through exhibitions, like 'Freedom I', showcasing his sculptural voice on an eco-conscious stage. Their partnership underscores the gallery's commitment to showcasing art that fosters deeper environmental awareness.
Can you tell us about your journey into the art world and what stirred you to focus on sustainability?
My journey into ceramics began during my studies at Central Saint Martins, where I became particularly interested in the narrative potential of materials. Clay offered this direct, tactile dialogue that I couldn't find elsewhere - the way the material remembers touch, records process, and transforms through fire fascinated me. As I studied, I also became increasingly aware of the various environmental crises facing us globally - particularly biodiversity loss and climate change. I realised that art could serve not only as an aesthetic practice but as a vehicle to explore these urgent issues. Over time, sustainability has become embedded in both my subject matter and my studio practice. For me, the environmental message isn't a separate element - it's a core part of my work.
How would you describe your artistic style and how it has evolved over time?
My work is very much story-driven, blending environmental themes with strong, tactile material exploration. Over time, I've developed a visual language where the textures and surfaces become carriers of narrative. The cracked surfaces of my Cracked Earth series reference drought and desertification. The pollen-like glazes in my Pollen Path series highlight the plight of pollinators and the fragility of ecosystems. My style has evolved by experimenting relentlessly with surface treatments, glaze chemistry, and form - but always with the intent to create work that balances beauty with a kind of quiet environmental urgency.
As a ceramic artist, what kinds of materials do you use in your work, and how do you source them sustainably?
I work predominantly in porcelain because of its purity, fragility and luminous quality - it allows me to express both delicacy and strength, which resonates with many of the environmental tensions I explore. I reclaim and recycle all my porcelain waste in the studio - every offcut, failed piece, or test tile is reprocessed back into usable clay. My glazes are non-toxic and lead-free, and I source materials from suppliers that are committed to responsible and transparent production. I also plan kiln firings carefully and use energy-efficient kilns to minimise energy consumption, ensuring sustainability is embedded in every stage of making.
What materials do you enjoy working with most, and what draws you to them?
Porcelain will always be central to my practice. I'm drawn to its contradictions: it's strong but fragile, controlled but unpredictable. Those same tensions exist in many of the environmental narratives I'm trying to express - fragility, vulnerability, resilience, collapse and renewal. Occasionally, I experiment with other clays to achieve specific textures, but porcelain's translucency and sensitivity to surface is what allows me to achieve the visual and conceptual depth I'm after.
Can you walk us through your process from concept to finished piece?
Almost every piece begins with research - sometimes reading scientific articles, sometimes responding to a news story or natural phenomenon. I'll often start with drawings, but quickly move into material tests, developing glazes or surface treatments that reflect the concept. I work extensively with test tiles to trial new glaze formulas and clay behaviours. During making, all waste porcelain is reclaimed and reworked. Kiln firings are batch-planned to maximise efficiency and minimise energy use. The final piece is both a material object and a narrative expression - where form, texture and surface reflect a much larger environmental dialogue.
Do you ever repurpose or upcycle materials? Can you share an example of a piece where this played a key role?
Reclaiming and reusing material is central to my practice. In fact, much of my work - including the Beehive Skirt and Pollen Path - is created from porcelain that has been recycled within my studio. Working with reclaimed clay involves carefully controlling moisture content and particle size to maintain the quality of the material. This transformation of waste into new work is symbolic: it reflects the cycles of renewal that exist in nature while also acknowledging the impact of human wastefulness on fragile ecosystems.
Is there a piece of your work that you feel best represents your mission as a sustainable artist? Can you tell us the story behind it?
The Cracked Earth series most fully captures my mission. I developed a unique crackle texture that mirrors the geometric patterns of drought-stricken earth - a visual reference to water scarcity and climate-induced desertification. The glaze palette references wildfire ash, polluted oceans, and heat-scorched landscapes. The crackle is partly controlled, but always allows space for natural variation - echoing the unpredictable consequences of climate change. For me, this series demonstrates how beauty and environmental fragility can coexist, asking viewers to reflect on the delicate balance we're rapidly destabilising.
Are you part of any sustainable art communities or collectives?
Although I work independently, I actively engage with sustainable ceramic communities through exhibitions, conversations, and online forums where artists share sustainable techniques. These exchanges are incredibly valuable, from technical advice on reclaiming clay to exploring low-impact glaze materials. The dialogue within these communities also helps refine my practice.
Are there any techniques or methods you've developed that set your work apart?
The Cracked Earth surface is probably the most distinctive. It took months of testing and refining - adjusting drying rates, glaze recipes, and clay thicknesses - to achieve the right balance between control and organic variation. I also work extensively with layering glazes to create pollen-like textures, referencing the bee and pollination themes. All of these technical developments serve to support the larger environmental narratives running through my work.
How do you balance the creative side of your practice with the business side?
For me, creativity and business are interconnected. I design limited collections and plan production carefully to avoid waste and overproduction. Firing schedules are built around full kiln loads to maximise efficiency. On the business side, I see education as key - explaining the sustainable choices behind the work helps collectors understand the real value of each piece. The business side supports the creative side - allowing me to maintain a studio practice that reflects my values.
How do you communicate the value of your work to potential buyers, especially those unfamiliar with the sustainable art processes?
Storytelling is absolutely essential. I make sure that every exhibition, sale, or conversation includes a dialogue about the environmental themes and sustainable methods embedded in the work. Whether it's through artist statements, gallery talks, or one-to-one discussions with collectors, I want people to understand that the environmental message and the technical process are completely intertwined. I've found that once people grasp that, they connect more deeply with the work.
What challenges have you faced when scaling or reproducing work that uses non-traditional or reclaimed materials?
Reclaimed porcelain is unpredictable - it can vary in plasticity, shrinkage, and colour depending on how many times it's been reprocessed. Achieving consistency at larger scales requires constant testing and adjustment. I keep detailed records of each batch to track how recycled clay bodies behave over time. But I also embrace a degree of variation - controlled imperfection feels appropriate when dealing with environmental narratives.
Are there any emerging sustainable materials or technologies you're excited to experiment with?
I'm currently researching lower-temperature porcelain bodies that could significantly reduce energy use in firing. I'm also following developments in alternative kiln technologies - particularly electric kilns designed for high-efficiency firings. On the glaze side, I'm interested in formulas that reduce the reliance on mined ingredients, using more locally sourced or recycled materials. Sustainability is a constant learning process and I want my studio practice to evolve alongside emerging technologies.
Do you have any new works or events audiences and buyers should know about in the future?
I'm currently developing new works that expand on both the Cracked Earth and Pollen Path series. These explore new glaze surfaces responding to environmental changes we're witnessing in real time. I'm also excited to have recently enrolled on a beekeeping course which is allowing me to engage directly with the creature that became central to my work. I have upcoming exhibitions planned that focus on environmental craft.
What advice would you give to emerging artists who want to make sustainability a part of their practice?
Start small - it can be as simple as reclaiming your clay scraps, using non-toxic glazes, or batching your kiln firings efficiently. Sustainability isn't about being perfect - it's about making conscious, thoughtful decisions at every stage. And don't be afraid to experiment. Sustainability can drive technical and creative innovation rather than limit it. Most importantly, integrate it into your narrative - let your values speak through your work.
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