Mosler bought the building in 2010 and commenced a gut renovation designed by his wife, Jean Won Mosler of Maum Design; the structure was designed by Maum Design in conjunction with Marvel Architects. It’s lasting evidence of Mosler’s former life as a Wall Street financier, a 25-year career that he cut ties with in 2007, when he quit his job at Wachovia. “It wasn’t just a question of getting bored,” he says of the decision to pursue art full-time. “There were opportunities coming up; I reached a moment where I said, ‘Okay, this is my true nature.’”
Mosler estimates that his income today is one fortieth of what he earned previously, and ironically, like at the beginning of his finance career, he’s working 100-hour weeks. His former career not only left him with great funds, but also a high tolerance for risk and an insatiable appetite for realizing big ideas. It’s these traits, along with a slew of innovative materials and techniques, that account for Mosler’s high success rate.
On the day I visit, there are six works in progress in the studio’s main space, all sitting on a moveable work table that allows for easy transport. Each is paired with glaze tiles that foretell their future surfaces (colors include coral, tangerine, white, and turquoise). A powerful pug mill, which Mosler uses to mix his clay, sits in one corner; across the room is a slab roller, and a stack of moist slabs of clay covered in plastic. The space is free from the layer of dust that frequently lingers in ceramic studios. “This is about sculpture, it’s not a ceramic studio,” Mosler emphasizes. “This is a sculpture studio, I am a sculptor.”