From Gao Liuzhou’s bench, between gaiwan firings
Gao Liuzhou’s main work is gaiwans — twelve named pieces a month from her shophouse in Liuzhou, Guangxi, each signed at the foot. The teapot line began as a way to answer a question her own regulars kept asking: why watch the leaf open through a lid you have to remove, when a pot could show the whole session at once.
The 450ml size is the middle of her three — enough for two or three small cups, still intimate enough for a solo morning session. She pulls the strainer from the same gather as the spout rather than fitting a separate metal mesh, so the whole piece stays one uninterrupted material from handle to lip. Walls are blown thin enough to read colour clearly but thick enough to survive the thermal jump from a cold bench to near-boiling water.
Every pot is annealed slowly, then checked by eye for the internal stress lines that catch light unevenly. Only pieces that pass go on to be signed at the base. Production alongside her main gaiwan work means this size restocks irregularly rather than on a fixed schedule — when you find one in stock, it is because her bench had a spare afternoon between firings.