If you’ve ever admired the smooth, even glaze on a Motawi tile, there’s a good chance Margaret Neblock had something to do with it. As a production generalist who’s deeply dialed into dip glazing, Margaret brings both artistry and precision to a job that’s surprisingly physical—and surprisingly joyful. We sat down with her to talk about life in the kiln room, mosaic dreams, and how missing one meeting got her elected president of a library board.
What’s your role at Motawi?
I’m a production generalist, but I’ve been pretty focused on dip glazing for a while now.
How long have you been at Motawi?
It’ll be four years in August.
What does a typical day look like for you?
I start by checking in with my kiln team buddies to see what needs unloading from the kilns, then look at what’s ready for waxing or dipping. There’s a rhythm to it—certain glazes go first, others later, depending on color and kiln space. Then I dip glaze most of the day. Sometimes I work with one color all day; other times I’m switching constantly. It depends on the projects.
What were you doing before you came to Motawi?
I was managing a custom framing studio—customer service, building frame packages, the works. A lot of hands-on work, which I love.
How did you first hear about Motawi?
I first saw a job listing back in 2008 after college. I had a BFA degree in interior design and the job market was… not ideal. I applied, didn’t get it. Tried again a couple years later—still didn’t get it. Third time’s the charm! I saw the production generalist role posted almost four years ago and went for it.
What made you want to work here?
After managing through COVID, I realized I missed working with my hands. Motawi has a great reputation in town, and the art-based focus really appealed to me.
Do you remember your first day or first impression of the Tileworks?
It was a big shift from working in a retail space to being in a warehouse setting. My first week was also the week of the company picnic, which was held at a coworker’s house. I remember thinking, “I hope I’m in the right place!” The first person I saw was Nawal—she welcomed me right away, and we ended up talking about mosaic work. That was a lovely, affirming moment.
What part of the work do you enjoy the most?
When things come out of the kiln. It’s delayed gratification, but when a tile turns out just the way you intended, it’s the best feeling. If something went wrong, you see it immediately—and learn from it.
Is there a moment you felt especially proud of your work?
My first summer in the kiln room, we had the “lily pond order”—almost 7,000 tiles for a big conservatory project. I was dipping lichen-colored tiles for weeks in a room that felt like a sauna. It was brutal, but when it was done, I felt like I’d run a marathon. Exhausting, but satisfying.
What’s something you’ve learned or gotten better at since you started?
I came in with no ceramics background. I assumed everyone here had one! But dip glazing is something you learn by doing. Over time, I built up enough skill and confidence to train others. I’ve even taken a few online classes on glaze chemistry—still mind-blowing stuff.
Can you share a fun or unexpected detail about your job that most people wouldn’t know?
It’s more physically demanding than people think. Even though I look like I’m standing still most of the day, I’m constantly moving, loading and unloading kilns. You don’t need a gym membership when you work here!
What’s something quirky or surprising about working at Motawi?
Definitely the mix of people. We’ve got multiple generations working together and a wide range of artists—some focused on ceramics, others bouncing between mediums. People stay here a long time, and I think that says a lot about the culture.
What do you like to do outside of work?
I love gardening—vegetables, flowers, all of it. I’ve got raised beds in a community garden where I grow things like celeriac, peanuts, beans… weird stuff. At home, it’s a mix of veggies and flowers I plant with my nieces. I also volunteer a lot at my church—food pantry work, school supply drives, those kinds of things.
What’s something that might surprise your coworkers?
I was an elected official for nine years. I served on the Northfield Township Library Board—one year as trustee, and then I missed a meeting and got voted in as president for the next eight. During my time, we put a big addition on the library, doubling its size.
Lightning Round!
Morning person or night owl? Night owl
Coffee, tea, or something stronger? Tea with lemonade—an Arnold Palmer
Favorite Motawi tile design? Ginkgo relief tile
If your job were a tile, what would it be? Probably the Saguaro tile… but not colored inside the lines. More like it was glazed while held at an angle—intentionally messy.
One word to describe Motawi? Vivacious
What are you excited about right now—at work or in life?
I’m building a website for my mosaic work. I’ve been creating mosaics since 2009 using ceramic tiles and matte porcelain. I’m not interested in mass production—I just want to make what I want to make. If someone connects with it, great. Right now I’m figuring out the platform and steps to get that site launched.
What kind of mosaics do you make?
I use tiny ceramic or porcelain tiles—some shiny, some matte—and apply them to things like plywood, cement board, acrylic shapes, or even terracotta pots. The pieces are glued down and often grouted, depending on the spacing and whether they’ll be used outside. I like working with materials that feel a little “halfway manufactured”—old school but not too old school.
Any dreams for the future—big or small?
The usual—owning a house, having a big garden, and being surrounded by friends and family. That sounds like a pretty good life to me.
Margaret might describe her work as “messy,” but there’s real intention in every glaze-dipped tile and every tiny mosaic she pieces together. Whether she’s loading a kiln, growing peanuts, or quietly expanding a community library, her hands-on spirit is unmistakable. And if you ever see a Motawi relief tile, just know: it passed through some very capable hands.