Lifestyle
An L.A. mom makes bold pottery at home that's 'Midcentury Modern meets ’70s surf wear'
Like most working moms, Los Angeles ceramist Emily Haynes has mastered the art of multitasking.
“Please excuse the boxes of popcorn,” she says with a warm smile, leading the way to her ceramics studio in the garage behind her Valley Village home.
“Our garage is the holding container for the Cub Scouts’ popcorn,” adds the den leader. Next to the stacks of popcorn, across from her potter’s wheel, a child’s kite rests next to a pop-up tent.
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating and producing original products in Los Angeles.
It’s a scene that perfectly captures the diversity of her roles, further emphasized by a small table opposite her potter’s wheel where her sons Kiran, 7, and Arjun, 11, often work alongside her.
Here in the garage, steps from the main house where the boys are making paper airplanes and discussing Dungeons & Dragons with her husband, acclaimed illustrator and animator Sanjay Patel, Haynes steals time to throw her distinctive line of boldly graphic ceramics.
“The biggest struggle for me is balancing everything,” says Haynes, who has worked as an editor for Penguin and Chronicle Books and is now a copy director for Airbnb. “I often paint my ceramics from 9 to 11 p.m. after the kids have gone to bed.”
“My process is slow,” Haynes says. “I’m a fast thrower, but the painting takes a long time.”
For Haynes, who took her first wheel-throwing class at Choplet Ceramics Studio in New York when she was 25, ceramics “hit all of the buttons in terms of hands-on creation and glazing.”
“I loved it right away,” she says. “It is one of those endeavors where there’s always more to learn no matter how long you’ve done it. That’s what I miss now — going to class and connecting with the studio community.”
Five years after that first class — for her 30th birthday — her parents treated her to a wood-firing workshop with Scott Parady and Christa Assad at Anderson Ranch in Aspen, Colo. “I loved the process,” Haynes says of using wood as a fuel source. “After the class, [Parady] invited me out to help fire his wood kiln in Lake County, Calif., with a crew of Bay Area potters. From then on, I was hooked.”
A petal power jar, $280; blues egg drop fruit bowl, $230; and petal reflection vase, $260. (Emily Haynes)
The experience eventually influenced her move to the Bay Area, where she lived for eight years. “I felt that I needed to move on from New York City, which had been my home since I was 18,” Haynes says. “I craved a fresh start and more time and space to explore ceramics.”
Now 47, Haynes says her pottery practice has always been a balancing force in her life, alongside her other work, including writing the children’s books “Ganesha’s Great Race” and “Ganesha’s Sweet Tooth” with Patel.
But after her first son, Arjun, was born, Haynes stopped making ceramics for four years. “We lived in an apartment in Oakland, and I had a full-time job at Chronicle Books. It was all too much,” she says.
Kiran Patel removes a piece of painter’s tape from one of his mother’s vases.
“The underglaze paints are fun to use because they are so vibrant,” Haynes says.
Then, when the couple moved to Los Angeles in 2016, Haynes started taking classes at Berman Ceramic Arts in North Hollywood, and her pottery changed dramatically as she “absorbed the Southern California aesthetic” of her new home.
“It dovetailed with the creative life that I share with Sanjay,” says Haynes, who grew up in Minneapolis. “When I moved here, I felt like I needed to lean into ceramics. I thought, ‘How do I fit in in the maker world? What’s my aesthetic?’ I didn’t paint my vessels the way I do now until I moved to L.A.”
Inspired by the captivating Southern California landscape, she began decorating her ceramics with colorful, wavy sunset patterns and rainbows and clean lines and drips inspired by the Midcentury Modern architecture of L.A. The more she experimented with color and design, the more her unique style emerged. She describes it in California terms: “Retro Midcentury Modern meets ’70s surf wear beach vibe.”
A purple and red painted vase by Haynes.
(Jenna Schoenefeld / For The Times)
Haynes left Berman Ceramic Arts before the COVID-19 pandemic because she was making too many pots, and the studio couldn’t support her output. When the pandemic hit, she turned her two-car garage into a creative space for herself and her entire family. It was during that time that she invested in an electric kiln, built a slab where the kiln now sits and enclosed it in a shed. When the couple remodeled their home, they added an office nook for Haynes just off the kitchen in the main house, where she now paints her vases, bowls, coffee mugs and potbellied teapots.
“The only thing that is hard is that there is no transition between work and home, my children, dinner and all the other things,” she says of painting in her office on weekends, at lunch and after the kids go to bed.
Describing her home life as “an intermeshed creative family,” Haynes’ home, as a result, is an art-filled oasis. With her parents’ vintage Marimekko Kaivo textile in the entryway, her own ceramics representing beloved family members in the living room and her children’s artwork on the dining room walls, the house bears an uplifting quality that informs the lives of the couple, who both work from home.
Haynes’ colorful work has a retro feel featuring clean lines and Mod teardrops.
Haynes embellishes the bottom of each piece with a pilcrow, a paragraph symbol used in editing.
A kitchen window filled with miniature versions of Haynes’ ceramics adds to the home’s creative spirit, and in her office, a painting by Patel from his early days at Pixar hangs behind her desk as if to offer encouragement. “It’s a master study of a painting by Odd Nerdrum, a modern painter who is inspired by Rembrandt,” she explains. Clearly proud of his creative parents, Arjun offers a tour of Patel’s office, which is filled with wooden dolls, Hindu gods and goddesses, illustrations and his and his brother’s artworks.
Such admiration undoubtedly stems from his parents, who openly encourage each other’s creative pursuits. “Emily, the goddess who graces our home, breathes life into clay at her wheel,” Patel said in an email. “Each vessel bears her unique touch, boldly showcasing the alchemy of desert-inspired designs and sun-dipped glazes — fired in her kiln at a bajillion degrees into art that’s gloriously AI proof and rivals the stars. And that’s just her side hustle.”
Miniature versions of Haynes’ ceramics are on display in the pop-out window of her kitchen.
Haynes acknowledges challenges with work-life balance while juggling two sons, her full-time job with Airbnb and her ceramics. At the moment, she is content to keep Blue Pen Ceramics small, even though many of her pieces sell out when she updates her online shop. But for now, she is satisfied with the slow process of throwing pieces quickly and spending weeks at a time painting them. “I’m a fast thrower, but the painting takes a long time,” she says.
She reached this decision after a six-month stint as a full-time ceramist that left her feeling unfulfilled. “I wasn’t happy,” she says. “I did a ton of work, but it felt unbalanced and stressful because my family needed income. When I got the opportunity to have a full-time job, I leaned into that.” Now, as she transitions into this new role, she is optimistic about finding a better balance for her ceramics.
Haynes paints a vase in her office, surrounded by artworks by her children and husband, Sanjay Patel.
(Lisa Boone / Los Angeles Times )
Today, Haynes tries to replicate 70% of her most popular core patterns such as sunrise travel mugs, petal power vases and flower power butter keepers. She fires the white, more vibrant pieces at home in her electric kiln, while the darker ones go through a reduction firing in a gas kiln at the American Museum of Ceramic Art in Pomona. “It’s a chemical reaction that happens,” she says. “The iron in the clay gets pulled into the surface — it almost gets in the paint.” The remaining 30% of her vessels are “new designs or evolutions of existing patterns,” she says. “[It’s] fun for me to experiment, although I have a lot of not-quite-right patterns in my cupboards.”
“Emily has such a keen eye and sense of color that’s hard to find in the ceramic world,” says longtime supporter Philip Seastrom, designer and founder of the Los Angeles-based clothing brand Big Bud Press. “Her work is distinctive and truly her own.”
Many people approach ceramics as an outlet, says Haynes. But it’s fulfilling to be paid for your art and “share it with the world,” she says. “I get to be a part of the creative community in Los Angeles and connect with people who love my work and have it in their homes. For me, that’s the point.”
Haynes throws a pot on the potter’s wheel in her garage.
Haynes quickly throws a pot in her garage studio.
Lifestyle
‘The Invite’ is a marriage comedy with sex and heart
Lifestyle
L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?
I met Dan on Hinge.
He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.
But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.
When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.
A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.
Then I learned the wine tasting was in West Hills.
On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.
I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.
I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.
When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”
I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.
The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.
We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.
We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.
After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.
On Tuesday night, he checked if we were still on, and I said yes.
Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”
My stomach tightened. This again?
So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”
He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”
I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”
Then he wrote: “So I won’t see you tomorrow?”
I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”
He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”
And then — surprise — he decided to come.
He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.
When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.
“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.
That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.
I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”
“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”
I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.
I tried to change the subject and reset the mood, but he insisted we keep hashing it out.
I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.
“What does the man get out of this arrangement?” he asked.
It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.
At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.
The check came, and I happily split it, wanting nothing further from him.
In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”
Obvious, but did it need to be stated?
Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.
“Oh, that’s sweet,” I said.
“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.
When I got out of the car, we wished each other luck, and I headed inside and shut the door.
Two hours later, he sent me the playlist. I’ve yet to listen to it.
It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.
The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report
Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.
J. Scott Applewhite/AP
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J. Scott Applewhite/AP
In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”
In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”
The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.
It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.
In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

The Trump administration has made the Smithsonian museums one of its primary targets in its efforts to reshape cultural narratives to align with its viewpoints. In August 2025, the White House requested a “comprehensive internal review” of eight Smithsonian museums, including the National Museum of American History, following an executive order issued by President Trump in March 2025 in which he called for the removal of “improper ideology” from the Smithsonian’s offerings.
According to the Smithsonian’s charter, all of its 21 museums, 14 education and research centers, and the National Zoo are meant to be run independently of the federal government. The Smithsonian is overseen by Bunch and a board of regents, which includes Vice President Vance, Supreme Court Chief Justice John Roberts and other members appointed by Congress.
In an interview with NBC’s Meet the Press on Sunday, Bunch spoke about the Smithsonian’s 250th anniversary special exhibition at the Smithsonian Castle, which is called “American Aspirations.”
He told NBC: “It’s really important for people to understand that America is much an ideal as it is a place, that it’s a series of aspirations that have really shaped who this country is. And so for me, what is so powerful is to say, ‘Let us honor the words of Thomas Jefferson and the founders, but let us use those to challenge us to be better.’”
Jennifer Vanasco edited this story.

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