Working under the name Nekonome Koubou and running her studio Kamon Seibutsusha, the Japanese artist Ayumi Horiai has spent years building a world shaped by childhood memories, quiet observation, and the small creatures that have accompanied her throughout life. It is a world where polymer clay geckos bloom with flowers, black cats carry wildflowers, and every creature seems to have a story of its own. Thoughtfully sculpted and rich in symbolism, her work invites viewers to slow down, look closer, and discover the stories hidden within each piece. Her path to polymer clay was anything but direct. Ayumi began as a jewelry designer, working with antique and vintage beads and participating in art fairs and department store events across Japan. It was a chance encounter with a buyer from an antique jewellery shop in a historic Tokyo hotel that changed the direction of everything. "If you only use commercially available beads, it is difficult to become a truly unique maker," the woman told her. "Try creating each bead yourself, starting with the material." Those words stayed with her. Ayumi began experimenting with glass, metal, enamel, and eventually polymer clay. "At the time, polymer clay was still difficult to find in Japan, and very little information was available about how to use it," she recalls. "There seemed to be no clear rules or correct answers, and I loved the process of exploring and discovering things through trial and error." It was through millefiori technique that Ayumi found her artistic language. Fascinated by the way even the smallest change in colour could completely transform a pattern, over time she began pushing the technique beyond its traditional two-dimensional form. "When I carefully observed real plants, I noticed that petals and leaves are themselves made up of countless colors, veins, and subtle patterns," she explains. "That realization inspired me to create the petals and leaves as millefiori designs." Instead of remaining flat patterns, her millefiori designs became flowers assembled petal by petal, the way nature builds them. Nature, however, has always been much more than visual inspiration. It is deeply intertwined with Ayumi's memories. Wildflowers, butterflies, frogs, geckos, and countless small creatures have quietly accompanied her throughout life, becoming part of the world she creates today. "What quietly lives inside my work is an appreciation for these small lives and the changing landscapes that accompany them." Ayumi remembers making flower crowns from clover after school, watching evening primroses bloom at dusk, and now finds herself observing swallowtail butterflies laying their eggs on the mandarin tree outside her home. These small seasonal encounters often become references for her millefiori patterns, preserving moments that feel increasingly precious as familiar landscapes slowly change. The creatures themselves came from a much harder place. In 2018, Ayumi underwent surgery and cancer treatment. During that difficult period, her two beloved cats rarely left her side. "There were times when I felt physically and emotionally exhausted, but whenever I looked up, my cats were quietly watching over me," she says. "Their gentle gaze gave me strength and comfort again and again." It was through that experience that she came to understand something that continues to guide her work today: kindness doesn’t always need words. "In Japan, we have a saying that 'the eyes speak as much as words.'" The geckos, chameleons, frogs, and black cats that now populate her artistic world all carry that same quiet quality: a slightly upward gaze, as if gently watching over whoever holds them. "If the creatures I create can bring a smile, comfort, or a small sense of reassurance to someone, I would be very happy." Each creature is sculpted entirely by hand, without molds, and its character is expressed not through paint but through the millefiori patterns built into the clay itself. Ayumi also studies the skeletal anatomy of every animal she creates, carefully observing the placement of joints and the range of natural movement before capturing what she describes as a fleeting moment, as though the creature might move again at any second. Even their names carry stories. One of her flower-patterned geckos is called Mimamo, inspired by the Japanese word mimamoru "to watch over." While geckos are traditionally considered lucky creatures in Japan and are believed to protect the home, Ayumi imagined something different. Rather than watching over a building, mimamo quietly watches over the people who live inside it. Although there may be fewer polymer clay artists in Japan than in Europe or the USA, Ayumi is doing her best to promote the medium beyond the walls of her studio. For nearly twenty years, she has held annual solo exhibitions at a gallery in Ginza, Tokyo, while also exhibiting and teaching in Taiwan. Yet what she treasures most isn't the "show" itself, but the small moments that happen around it. "I am always grateful to the gallery owners, shop owners, staff members, collectors, and workshop participants who support my work," she explains. "It brings me great joy to watch people carefully look at each piece, smile when their eyes meet a creature's gaze, or even quietly speak to the animals as if they were alive." Those encounters, she adds, often carry "a sense of surprise, curiosity, and affection." The world of Kamon Seibutsusha continues to grow. There are still new creatures waiting to be made, flowers waiting to bloom, and stories waiting to find their way into clay through Ayumi's hands. Looking at the quiet conversations her sculptures continue to inspire, it is hard not to feel that many more people are still waiting to meet them.

Flowers have always occupied a special place in Krystyna Hanzii’s world. At first glance, her work feels almost alive, as if it could have been picked seconds ago and carefully placed in front of the viewer. Yet each bloom is formed from polymer clay, shaped slowly until it carries the softness and fragility of nature itself. Built petal by petal, each piece reflects hours of patient work and careful attention to detail, gradually growing into sculptural botanical compositions. Growing up in Ukraine, Krystyna was always surrounded by people who appreciated the beauty of simple things — whether it was nature, the warmth of her home, or handmade objects. "I think creativity was always a part of me, although for a long time I didn't see it as something serious," she reflects. Drawing, making tiny things, and spending countless hours observing flowers — their shapes, petals, and colors were all natural parts of her childhood, and she never imagined it would one day become something more. Polymer clay entered Krystyna’s life much later, and almost by accident. "I have always been fascinated by flowers; there is something deeply alive and emotional about them," Krystyna says. "They are beautiful, yet fragile and temporary at the same time. I wanted to create something that could preserve that feeling forever." Looking back, Krystyna sees her early attempts as an important part of the journey. The very first flower remains memorable not because it was perfect, but because: "It was a simple little flower, and at the time I thought it was beautiful. Today I can see every mistake — the shape, the texture, the proportions, but I still love it because it was the beginning of everything." The shift from hobby to something more serious did not happen overnight. It happened gradually. Her work started appearing online, and people began noticing it, sharing stories about how the flowers reminded them of loved ones or specific moments in their lives. "That was when I realized this had become something much deeper." "It is important for me not simply to copy a flower, but to capture its character. Every flower has its own mood — softness, lightness, drama, or calmness," Krystyna describes her work. Each piece is built petal by petal, with colour, detail, and texture added before the final composition comes together. Building an online presence brought Krystyna both opportunities and pressures. It opened up connections with people around the world who appreciate beauty in a similar way, but it also came with its own risks. "Social media can easily make you create what 'works' instead of what you truly love. For me, it was essential to remain honest in my art." Before creating a flower, Krystyna spends a great deal of time studying it. "I observe real flowers, photographs, and sometimes I can stare at a single petal for a long time just to understand its shape or texture." Sometimes, all it takes is seeing light fall on a petal or watching a flower after the rain for her to suddenly feel the need to create. Comparing her earlier work to the pieces she creates today, the biggest shift in her art is surprisingly not a technical one. "Before, I was simply trying to make a beautiful flower. Now, I try to convey a feeling. And I think that is the most important transformation of all." Her workspace usually looks like a small creative chaos. "There is clay, tools, wire, paints, boxes, flowers, and sketches all over the table," Krystyna laughs, describing a space that feels full of life. With a consistent creative routine, her days are divided between sculpting flowers, packaging orders, photographing artworks, running her shop, and communicating with customers. "When you are both an artist and building your own brand, you end up wearing many roles at once," she adds. But it has not been just Krystyna working behind the scenes. Her husband has also played an important role in her journey. “Without his support, both moral and financial, I wouldn’t have achieved what I have today. He also helps me manage my shops, and I am grateful to him for everything he does,” says Krystyna. Creating such realistic flowers requires an enormous amount of patience, practice, and precision. Each petal is sculpted by hand before being carefully baked, coloured, textured, and assembled into the final composition. Many of Krystyna's wall pieces feature entire bouquets brought together within a single frame. "It is a very slow process that requires patience. The most rewarding part is the moment when the flower suddenly starts to look alive." There are still many flowers Krystyna dreams of creating. "Some of them I intentionally keep for later. Sometimes it feels like a certain flower needs the right moment or the right emotional state to be created," she explains. "I like the idea that there are still flowers ahead of me that I have not yet grown into as an artist — and that is what keeps my creativity alive."

When Irish artist Louise O’Hara started working with polymer clay nearly 30 years ago, she never imagined it would lead to a career in jewellery. It wasn't the original intention at the time. “I was simply exploring my creativity and quickly became drawn to how playful and endlessly versatile the material was,” she says. Like many polymer clay beginners, Louise spent years rolling beads purely as a hobby. However a couple years later, her obsession with statement earrings began and she got to create and learn more – by making pieces for herself, friends and family. Louise’s hobby officially transformed into a full-time career in 2020. Since then, her practice has continued to evolve, while the magic of the medium remains. “Polymer clay allows a level of control and color exploration that I’ve never found in any other material,”  she explains.  “The textures, the finishes, the possibilities! It still gives me the same childlike joy today that it did all those years ago.” While her early work was centered around beads, Louise was determined to explore every possibility the moment she moved into slab-making. As a result, her initial experiments were quite scattered, but over time, through daily practice and constant trial and error, her work naturally evolved into something that feels more like her.  When we asked how her style has evolved over the years, Louise defines her current aesthetic through clean lines, intuitive color palettes and a sense of restraint.   “I’m drawn to an aesthetic that is either boldly geometric or quietly organic, rather than anything overly decorative,”  Louise says. As her style has become clearer, her confidence has also grown right along with it.   “There’s a real comfort in knowing what feels right for me. I don’t feel the need to try every single technique anymore; instead, I focus on the corner of the craft that I truly love and continue to refine it.” Louise's personal style is the heartbeat of her designs. To her, there are no rules – clothing and jewelry are simply forms of self-expression. There are days when Louise would go all in with colours from head to toe: “I’m obsessed with earrings, so I make pieces I genuinely want to wear. My wardrobe tends to lean towards muted colours and clean silhouettes, and I really love the contrast of bold, colourful earrings.” Working with polymer clay has completely changed her perspective of the world around her. “I see earrings everywhere now! Colour combinations and shapes jump out at me. I’ve become far more aware of textures and finishes, and have a deeper appreciation for materials and for how things are constructed.” While jewellery once felt mostly decorative to Louise, she now fully understands the transformative power of form, balance, and proportion. Earrings, in particular, feel almost medicinal to her. They are a simple way to shift your mood and offer a wearable dopamine boost for the day. She views them as an uplifting accessory that can instantly change how you feel about yourself. On the other hand, statement jewelry offers a sense of empowerment, allowing people to express themselves in a bold yet accessible way. As Louise says: “That idea sits at the core of my work. I make what I want to wear, and I want to wear what makes me happy!” In her early years with polymer clay, Louise created at the kitchen table, constantly moving between various makeshift setups. Since transitioning to a dedicated studio in 2024, the shift in productivity from her own purpose-built space has been an absolute game-changer. The space is simple but thoughtfully arranged. One desk holds the tools she reaches for most often, while a large counter across the room gives her space to spread out pieces she’s working on. Recently, the space has even become collaborative: Louise’s assistant now helps with conditioning clay – a task that was previously quite time-consuming, which allows the creative process to move much more smoothly. Louise’s favourite time to be in the studio is early morning. Before the day fully begins, the space is quiet, the light is soft, and there are no distractions yet. It is the moment when her mind feels the clearest and she can fully focus on creating. A bright, calm, and well-organized environment is essential for her mind to function at its best, helping her stay balanced and focused. “The studio feels very much like my own personal retreat,” Louise reflects. “It’s a space where I have everything I need close to hand, and where creativity and making can happen without interruptio n.”  For Louise, running a small business in Ireland has been an absolute dream – though she admits that it has been much more challenging than she ever imagined. Still, she wouldn’t trade it for anything. “It’s the kind of hard work that is difficult to fully understand unless you’ve experienced it yourself,” she says. The challenges feel worth it. Whenever she sees her jewellery out in the world, being worn and enjoyed by others, she is reminded of just how far she has come. Louise’s journey began selling online on Etsy, but after a few months, she felt the need to create a space of her own. Transitioning to an independent e-commerce site was a steep learning curve – with no prior experience, every technical step felt like uncharted territory. However, what started as a challenge has blossomed into a part of the business she truly loves. Her website has become a creative space where she handles everything from photography and styling to the visual storytelling that brings her brand to life. As an introvert, Louise finds that the online world offers her a unique way to connect thoughtfully with her audience. “Selling online allows me to present the work exactly as I intend it to be seen,” she explains.  “I can control the pacing, the imagery, and the context around each piece. That sense of intention suits both the work and my personality.”  While her magic begins in the quiet of her studio, selling in person is the absolute highlight for Louise. Retail events offer a vital opportunity to step out from behind the screen and fundamentally build her community, connecting her deeply with customers, fellow makers, and business owners alike. For Louise, the most rewarding part is the immediate, face to face feedback. After spending a lot of time in her studio, most of the time working alone, seeing a customer’s reaction when they see her piece in person is an incredibly valuable moment for Louise.  For an introvert like Louise, stepping out from her comfort zone to sell in person was quite a challenge. Yet, she pushed herself to start with small local markets and gradually worked her way up to larger trade events. Louise shares that this progression has been a life-changing experience. Today we see an artist who once hesitated to step into the public eye, now exhibiting at international trade events and genuinely looking forward to every moment of the experience. "You never know what a quick chat at your stand can lead to," she says. The ongoing challenge is to find the right balance. Louise openly admits that there are never enough hours in the day, and when her focus shifts heavily towards one area of the business – whether it’s wholesale, marketing, social media, another inevitably needs to be put on hold. “Learning where to place my attention at different times is an ongoing process, and one of the realities of running a small, creative business.” The one thing she wishes she had known earlier was to allow herself to truly feel her success and take a moment to realize, “I actually did it.” She found that the nerves she built up in her head were far more intimidating than the reality. Her secret is a shift in mindset: to remind yourself that people are just people. We are all human, and everyone is simply doing their best. Louise avoids over-rehearsing or relying on a scripted pitch, preferring instead to be fully present. While she admits by saying “easier said than done” , she believes that breathing and speaking naturally goes much further than anything else. And her final piece of advice? Don’t wait until you feel completely ready. “That moment rarely comes. It’s normal for it to feel scary at first, but once you’ve done one show, the fear softens. The best way to learn is simply to get started, you’ll never have it all figured out, no one does!”