Meet Allison Shawn, Founder of SOMBRA Ceramics Studio

All Fired Up is our Shop’s monthly handmade ceramics drop, curated by Food52, and all from small and local makers. This month, we’re featuring LA-based artist Allison Shawn of SOMBRA Studio Ceramics.

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For Allison Shawn, it wasn’t a question of if she was going to run her own business—it was simply a question of when. And maybe what too. If you’d told her in college—or even five years after—that ceramics would be her future, she probably wouldn’t have believed you.

In fact, she might not have believed she was doing ceramics at all.

After taking a wheel-throwing class in high school, she set clay aside for nearly a decade to pursue a full-time career in architecture. But when she looks at some of her favorite pieces now, she still sees the influence of those early days. “The magic of the kiln seemed really exciting,” she explains. “I just loved the material and the process and how thoroughly immersive it was.”

Luckily for all of us, the Los Angeles-based artist and founder of SOMBRA Studio Ceramics eventually found her way back to the studio. A hobby first rekindled during the 2020 pandemic lockdowns, ceramics quickly became more than just a pastime. “It was this place of refuge and freedom for me,” she says, reflecting on how the craft has always retained those qualities.

When we connect, it's a sunny afternoon in her Northeast LA apartment. A sleepy dog rests at her feet, and green plants are scattered around the room—an intentional backdrop that mirrors her approach to both life and her business.

Fast forward to today, and Allison is running a full-time studio from her home. “It’s just such a special thing that has always pulled me back,” she says.

Most recently, we collaborated with her for our monthly All Fired Up ceramics drop, featuring an exclusive collection from SOMBRA.

To learn more about the inspiration behind these pieces and Allison's journey, we caught up with her for a chat about the evolution of her craft.

How did you get into ceramics?

I started in high school. It was one of the two art classes I could take, and I’d never had an opportunity to work with clay before. The magic of the kiln seemed really exciting, so I started doing it and it instantly became something I loved—the material, the process, how thoroughly immersive it was. When you're working with clay, you're not doing anything else. You're literally covered in mud, so you don’t even want to touch a doorknob—certainly not a phone, you know?

So you didn’t study it in college at all?

Not really. I was able to take a class here and there, but it was much more limited. And architecture was so all-consuming—as a profession and a creative outlet—it kind of took everything I had. I didn’t really have any creative juice left over for it.

Ceramics and architecture are both art forms, but they’re quite different. How do they compare?

There are a lot of things that overlap between the two practices. They’re both very spatial, and both are about the end user. But they’re also quite different. Architecture is extremely exacting and precise. There’s no spontaneity because everything has to be planned to the nth degree—making sure everyone is satisfied, from the clients to the city, to building codes, fire inspections, contractors.

And then ceramics is the complete opposite. It’s immediate, in your hands. Each batch of clay is different, so you have to be responsive to the material in the moment.

Do you remember the moment when ceramics started to shift from being a creative outlet to a career?

It was a slow evolution. At some point, it became less about the business itself and more about the lifestyle I envisioned for myself. I’d look into the future and just didn’t see myself in an office, on a computer at all. I saw myself leaning fully into the business.

That way of living just felt much more natural. I was always in response and collaboration with what was happening, rather than living in what can sometimes feel like a fake email world, where we’re inventing deadlines and stressing out about them, even though they’re not necessarily real.

I think that can be really daunting, though. Were you nervous? Or was it just like, “This business is taking off, and I’m following that path”?

There was definitely some nervousness. But, I had always had an idea that I wanted to work for myself. That was never really in question—it was just a matter of what the business would be, and when it would happen.

I originally thought I’d try to do both architecture and ceramics—find space for both. But over the next couple of years, I realized: this business is where the growth is and I could see a path forward that felt holistic and complete.

Going back to your family’s business, are there any specific lessons from those early days that you still incorporate into your own business today?

Absolutely. One of the biggest lessons I learned from watching my parents, especially my dad, develop the family business was the idea that quality sets the tone. It’s not just about the quality of the product itself, but the quality of every interaction and relationship surrounding it. My dad really taught me that when you set a high bar, everything around you rises to meet it.

It’s this mindset that I’ve carried into SOMBRA: quality and trust elevate everything around you. It creates a culture of integrity, and that becomes the expectation.

Your pieces are often described as objects meant to be cherished for years. Do you have a piece in your home that holds deep meaning for you?

There’s a serving bowl I made back in high school and it’s followed me into every apartment I’ve lived in. At first, it was just a piece I loved, but as I got back into ceramics, it became a reminder of how far I’ve come as a craftsman. It’s like when you meet a five-year-old and you can already see their personality—this bowl, though rough, already had the elements that I would grow into as a designer.

It’s a special piece because, when I look at it now, I see the beginning of something much larger. It reminds me of my journey and how the foundation for what I do now was always there.

Lastly, can you share a bit more about this particular collection?

The collection is a mix of both Daniel [Zunino’s] input and my own adjustments. It was important to me that all the pieces could live together in a home, while still exploring a range of techniques and styles I use with SOMBRA. The collection strikes a balance between form and function, all while speaking the same design language. I wanted the pieces to feel essential but also expressive—objects meant to be used and lived with every day.

Do you have a particular piece you’re especially proud of?

It’s hard to pick, but one piece I’m really proud of is a ribbed vase with a fluted texture on the outside. The technique for that piece took a long time to perfect. I have to shape it with just one hand instead of two, which can be challenging because once you make a move, it’s permanent. I’m really proud of getting to a place where I had enough control to create that texture precisely.

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