How do you decide which craft sculpture to put in a window display versus a back shelf?

Well, I’d love to say it’s pure instinct, but honestly, it’s a mix of story, scale, and surprise. When I’m arranging my craft sculptures, I think of the window as a stage and the back shelf as a quiet library. The window display is for the showstopper—the piece that makes people stop mid-step. It needs to have a strong silhouette, a bold color or texture that reads from a distance, and a clear visual story that hooks curiosity. For example, a large, open-armed ceramic figure that looks like it’s waving at passersby? That goes front and center. It has to invite questions: “What is that?” or “How did she make that?

The back shelf is for the treasures. These are pieces that reward close looking—intricate carvings, subtle glaze shifts, or delicate details that get lost in window light. They’re for the person who walks in and says, “I’m just browsing,” but then spends twenty minutes with their nose inches from the clay. I also consider price and flow. High-impact, lower-cost pieces often go in the window to drive foot traffic, while featured, higher-ticket sculptures stay on the shelf where someone can have a quiet conversation with them. Seasonal themes matter too: a spooky mask goes in the window for October, but come November, it retreats to the shelf to make room for warm, earthy harvest forms.

And I always test it. I’ll stand outside and squint. If the window piece doesn’t make me want to step closer, it gets swapped. The shelf gets rotated every couple weeks so returning visitors find something new. It’s not just about “best” or “most expensive”—it’s about creating a journey from the sidewalk to the shelf. A window that teases, and a shelf that delivers. That’s my rule.