Alie Ward

And can you tell me a little bit about why that began as a passion for you of keeping museum objects for museums, but also being able to make replicas where other people and other can see things in three dimension across the world?

How did that begin?

So just as a reminder, we were chatting by video, and I have a few mugs I'm quite partial to.

Quattro Ceramics made me a custom Art Thou a Spirit of Health or a Goblin Damned mug from the Vampirology episode.

And I also love Corey from Belfast Clay Studio in Maine's work.

And this morning, I casually lifted a Whitefish Pottery 24-ounce clay stein to my lips and

filled to the brim with hot green tea.

And on video calls, I take for granted that this thing is shockingly large, and it looks like a medieval tankard.

And to my delight and my shock, I had impressed these new friends that I adore.

This is my daily driver.

So I looked it up and I found a BBC article furnishing photos of these 4,000-year-old terracotta-hued food vessels that look like planters with almost a cable-knit texture and fluted cuffs at the top.

And Graham describes a request he got.

for a contemporary piece of pottery that was heavily influenced by these excavated vessels and their textures.

And it was to be used as a centerpiece in the visitor center.

And as an experienced potter, could he make a replica of a precious artifact to serve as an educational tool?

Graham's replicas held such attention to detail and reverence for

potters past, that they have landed in the hands of various leaders and dignitaries globally, which years later still seems to baffle and amuse him.

Was that something that you ever kind of thought would be a trajectory for you?

That's got to be a bit surreal.

When it comes to the way that you use pottery to educate in history, how far back do you go when it comes to teaching?