Peter Souza Jr.
Peter Souza Jr. is an artist and maker working across wood, image, form, and installation. His practice investigates memory, identity, presence, and the emotional life of objects, often through pieces that hold their materials in dialogue — wood paired with rope, watercolor, found image, or constructed surface. Souza approaches each work as a record of attention, building forms slowly through cutting, joining, painting, and sanding. His pieces resist easy categorization, sitting between sculpture and furniture, image and object. Souza lives and works in Detroit, and co-founded Take Me Home with Jim Schatz in 2026.
Available Works
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder wrapped in an irregular lattice of applied clay strips that cross and overlap, breaking the rim in short uneven prongs. A glossy green glaze pools dark in the seams and thins over the raised work; the raw clay is left bare at the foot.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder built over with applied clay strips — straight and wavering lines that cross, ladder, and rise past the rim in uneven prongs. A green glaze mottled with bronze and brown pools in the seams and breaks amber along every edge of the raised work.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder wrapped in horizontal bands of applied clay that overlap and taper as they circle the form, like binding pulled tight around it. A glaze of pale green and soft blue moves between the bands, pooling turquoise in the recesses and warming to yellow-green over the raised work.
by Peter Souza Jr.
Round tray and six cups by Peter Souza Jr., hand-built in stoneware — raw, speckled clay outside, with interiors and rims glazed a deep blue-black that breaks and drips at the edges. The canvas texture of the building process stays in the surface. Each cup takes its own slightly different form. One of a kind, built and finished by hand in Detroit.
by Peter Souza Jr.
A serving set by Peter Souza Jr. — six slab-built cups on a rectangular tray. The cup interiors and tray surface are glazed a deep cobalt blue; the exteriors are left raw, the speckled stoneware showing through. Each cup folds slightly where it was shaped, no two alike. High-fired.
by Peter Souza Jr.
A one-of-a-kind tray and cup pairing in slab-built speckled stoneware, finished in light aqua glaze. The tray is reduced to essentials — a rectangle with integral side handles, its working surface impressed with the weave of fabric. The cup sits as its own small cylinder, rim left irregular where the hand released it. Numbered and dated by the artist — a permanent record of when the work was made.
by Peter Souza Jr.
Slab-built stoneware bowl by Peter Souza Jr. The rim rises and folds back on itself, pulling away from the floor in two open arches. Glazed white inside, the speckled clay left raw outside. High-fired. Part of the Degenerate collection.
by Peter Souza Jr.
Slab-built stoneware bowl by Peter Souza Jr. Low and open, the rim torn rather than cut — rising and dipping around the form in ragged peaks. Glazed ochre inside, the speckled clay left raw outside. High-fired. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind slab-built bowl in speckled stoneware, lined in gold lustre. Rough by intention, the form keeps the marks of how it was made — visible joins, irregular rim, the hand's pressure visible in the surface. The gold interior catches and holds light against the raw exterior. Numbered and dated by the artist. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind lidded box in slab-built stoneware with a yellow-glazed interior. The exterior is left raw — dry, dense, the granules of the clay body visible at the surface. The lid lifts on a small rectangular handle. Numbered and dated by the artist. Part of the Degenerate collection.
By Peter Souza Jr.
A one-of-a-kind wall work by Peter Souza Jr., built from hundreds of painted wood offcuts — strips, blocks, and fragments layered edge over edge across a square panel. Washes of blue, orange, green, and yellow sit scrubbed and worn into the wood, no piece finished the same way twice. The surface reads flat from across the room and deepens into relief up close.
By Peter Souza Jr.
Wall sculpture in wood, acrylic, and latex by Peter Souza Jr. Painted forms stacked and stepped, the climb rendered as material — each block a thing pushed past, each surface the texture of having gotten through.
By Peter Souza Jr.
A small wall sculpture in wood, hammer, and latex by Peter Souza Jr. The hammer mounted at center, painted forms gathered around it — protection and tool, both. The piece holds its title plainly: a kit for the porous, for those who carry too much.
Nothing here is buried completely. Layer moves over layer — orange under green, green under blue — and every pass leaves the earlier ones showing through. A surface built by covering, where the covering never quite holds.
By Peter Souza Jr.
A wall-mounted form built through cutting, joining, painting, and sanding — wood treated as both structure and surface. Acrylic and watercolor wash across the assembled form, holding the marks of two materials in dialogue. The piece reads as record of attention: each layer of paint, each cut and joined edge, evidence of slow making.
By Peter Souza Jr.
The costume set down. Blocks and slats hold their positions on the panel, but the same wash moves over all of them — one color running through what used to be separate performances. What's left when the effort of appearing stops.
By Peter Souza Jr.
A small constellation of painted forms in wood, acrylic, and watercolor. The artist describes the piece as "an ongoing exercise in organizing chaos and respecting randomness." Color and shape stand in for skyline, density, the honest disorder of a city block.
By Peter Souza Jr.
A vertical wall sculpture in wood, acrylic, and watercolor. The forms gather and disperse — figures held briefly together, painted in soft washes. The piece carries the doubleness of its title: things lost and things kept, the act of finding what gets returned and what doesn't.
By Peter Souza Jr.
Instinctual and learned by necessity. The human process of finding a path to the other side. Requiring the skill and wit necessary for survival and claiming life prizes.
By Peter Souza Jr.
A tall vertical piece in wood, rope, pulley, and acrylic by Peter Souza Jr. The pulley as both function and image — a mechanism for holding, lifting, hauling something into place. Painted forms gather around the working hardware, the assemblage at once tool and figure. The piece keeps its title's urgency without resolving it.
By Peter Souza Jr.
A small standing sculpture in wood, acrylic, and watercolor by Peter Souza Jr. The forms read as figures gathered close, painted in soft washes that hold the light. The piece carries its title openly — a quiet figuration of holding on.
By Peter Souza Jr.
A vertical sculpture in wood, acrylic, and watercolor by Peter Souza Jr. Smaller than the larger assemblages but holding the same vocabulary — gathered forms, painted surfaces, careful joins. The piece reads as both vessel and figure, an object that suggests something held or remembered.
By Peter Souza Jr.
A standing assemblage of driftwood, found glass spheres, rope, and watercolor by Peter Souza Jr. Each element gathered before being arranged — wood pulled from water, glass found and held, rope knotted by hand. The piece reads as figure, instrument, and totem at once, holding together without resolving into any single thing.
Take Me Home accepts select commissions for sculptural, ceramic, and site-specific work by the gallery's artists. Recent projects include private residences, interior design installations, and public-facing architectural placements.
Each commission is developed in close dialogue with the collector, designer, or architect — beginning with an initial conversation about the space, intended use, and creative direction. From there, the artist and gallery develop a proposal with materials, dimensions, and production schedule. Work is then built in-studio in Detroit, with in-progress updates shared throughout.
Commission inquiries are reviewed on a rolling basis. Timelines typically range from three to nine months, depending on scope, material, and scale. The gallery also accepts commissions for editioned work and sculptural lighting.
To inquire, please contact hello@detroittakemehome.com or (313) 454-1777 with a brief description of the project, intended location, and approximate timeline.
Commissions
Take Me Home
1533 Cadillac Blvd. Suite 102
313-454-1777
Open Friday - Sunday 12-6 PM
Contact or Book an after-hours appointment
J Schatz Studio
22005 Van Dyke Ave.
Warren, MI 48089
866-344-5267
Contact or Book Appointment
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
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