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potter's wheel, shaping clay, firing it off and shipping it out. e advantages of operating on this sort of scale (and acting as both producer and chief creative) is that Pandolfi's products showcase his integrity and meticulousness with the consistency of something that is mass- produced. Each piece—whether a plate, bowl, cup, or vase—requires time, artistry, and skill. But when it comes to a commision for a specific restaurant, there are a few other elements that are taken into account. Pandolfi explained, "Everything from price point limitations to the kind of storage space and dishwashing equipment the restaurant uses... ose are some of the weirder things that people might not think of. We also focus right in on the menu and the right color palette for the space and the food." We've all heard of the adage, "You eat with your eyes first," but the key is for the food to live in harmony between what's actually on the plate and the physical plate itself. at bright white almost sterile-looking china definitely makes a statement, but so can a bowl glazed in black or seafoam green. First, Pandolfi starts by pugging the clay (taking all the air out) and rolling it out into thin sheets. en, he carves out the shapes, places them into a mold, and forms them using a jigger. e tableware is then allowed to dry before it's fired off for the first time. It's then glazed by hand and goes in for a second, final firing which gives the pieces their finish and durability. "If anything, I have learned to trim out more labor intensive processes, while maintaining the quality of VUE ON DINING V U E N J . C O M 112

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