In the hub of CSUN’s ceramics studio, Lucy Kindseth shapes more than just clay. She builds a body of work that explores fragility, permanence and the natural world. A ceramics major with years of hands-on experience, Kindseth approaches her craft with a developing methodology that intertwines technical skills with deeply personal themes.
“A lot of the assignments we get are structured to spark ideas,” she explained. “For one project, we had to sketch 21 objects: seven additive, seven subtractive and seven image based. That process helped me refine my focus on themes of death and preservation.”
Inspired by the delicate structures found in nature, she frequently incorporates bone-like forms into her sculptures, examining their fragility and resilience.

Kindseth’s approach to surface treatment and finishing reflects her minimalist preference. “I don’t use a lot of glaze in my sculptural pieces,” she said. “I’ve started experimenting with flocking to create a matte, velvety texture that invites touch.” While glazes are a crucial part of ceramics, she sees them primarily as aesthetic tools rather than necessary to her artistic vision.
Her relationship with failure is one of acceptance. “You have to understand that with clay, nothing is permanent until it’s fired. At any point in the process, whether on the wheel, in the kiln, something could go wrong. You just have to adapt.” The studio even has an informal “cry room” for students who lose a piece they’ve spent weeks working on.
Beyond the technical challenges, Kindseth finds solace in the physical experience of working with clay. “I’ve always loved getting dirty, shaping something with my hands. There’s something special about knowing your work could last thousands of years.”
This connection to permanence fuels her passion, even through creative blocks.

“When I get stuck, I go back to the basics, throwing simple forms like bowls or mugs helps me reset.”
With plans to enter CSUN’s Master of Fine Arts program and eventually teach, Kindseth hopes to pass on her knowledge to the next generation of ceramic artists.
“I don’t want students to replicate what I make. I want to help them develop their own techniques. Seeing that moment when something clicks for them is really rewarding,” she said.
For Kindseth, ceramics is more than an art form; it’s a way of preserving stories, emotions and even history in a lasting medium.