About Us

Hi, I'm Stephanie Jin, the founder and artist behind Relique Studios.

My journey began in Jingdezhen, an ancient porcelain town, where I spent years learning underglaze painting from masters who've practiced it their whole lives.

Back in Brooklyn, New York, I work with the same white clay, painting everything that delights me: freshly harvested vegetables from the farmer's market at McCarren Park, winter crabs steamed and cracked at my family's table.

My work celebrates small rituals and the way certain objects can make an ordinary evening feel memorable.

Behind the scenes

Each piece is crafted and painted by hand.

  • Working with porcelain

    All our dinnerware is made with pure white porcelain: hard once fired but buttery when thrown on the wheel, solid but translucent when thin, strong enough to last centuries yet delicate and refined. We slip-cast each piece in plaster molds that pull water from liquid clay until it holds a shape.

  • Underglaze plainting

    Each piece is painted with a technique called fen-shui, a watercolor method that requires working quickly, before the porous bisqueware absorbs the pigment and before the brush loses its flow. This craft took me years to master.

  • Kiln firing

    The underglazes I use come from local minerals: cobalt for blue, iron for warm rust, copper for green. When each piece is fired, the kiln reaches temperatures high enough to turn clay to glass, to seal the painted surface under a clear non-toxic glaze. What emerges is porcelain: vitrified, dishwasher-safe, and ready for your table.

  • Working with porcelain

    All our dinnerware is made with pure white porcelain: hard once fired but buttery when thrown on the wheel, solid but translucent when thin, strong enough to last centuries yet delicate and refined. We slip-cast each piece in plaster molds that pull water from liquid clay until it holds a shape.

  • Underglaze plainting

    Each piece is painted with a technique called fen-shui, a watercolor method that requires working quickly, before the porous bisqueware absorbs the pigment and before the brush loses its flow. This craft took me years to master.

  • Kiln firing

    The underglazes I use come from local minerals: cobalt for blue, iron for warm rust, copper for green. When each piece is fired, the kiln reaches temperatures high enough to turn clay to glass, to seal the painted surface under a clear non-toxic glaze. What emerges is porcelain: vitrified, dishwasher-safe, and ready for your table.