Mitchell moved to Los Angeles, which he calls a "healthy melting pot of creatives," with only his bike and two suitcases. Upon arrival, he rode his bike to El Segundo from Culver City to get to work at 7 a.m. as Cariati's assistant.

The COVID-19 pandemic, however, is what "lit the fire under me," he says. Worried that he could not continue working while everyone was staying home amid pandemic-related closures, Mitchell took advantage of a 30-day free trial and created a Shopify account for solo makers to showcase his work.

His efforts were worthwhile. The account caught the eye of longtime California design studio Heath Ceramics. "We were taken by his postmodern-like shapes and juxtaposition of bold colors," says Heath co-owner Cathy Bailey. After crafting pieces in line with Heath's seasonal collections for some time, Mitchell created a stand-alone showcase that blended vibrant, geometric pieces and traditional patterns. "Our best partnerships are when we both inspire and push each other in unexpected ways; working with Cedric is one of those," says Bailey.

Mitchell agrees. "Heath was one of the best things that happened to me," he says as he stamps the bottom of a vase for Heath's summer seasonal collection. "They gave me the opportunity to get better."

Los Angeles lighting designer Brendan Ravenhill, who is working with Mitchell on a new fixture debuting in June, says: "Cedric's funk is contagious" when it comes to craftsmanship. "We always look for people based in Southern California who are the best at what they do," Ravenhill adds. Mitchell has the skills to produce and refine the difficult shape, he says.

Like the owners of so many small businesses in Los Angeles, Mitchell admits that 2023 was a tough year.

"It's hard to do production in L.A. because nothing here is cheap. Natural gas prices and the cost of the studio rental are going up. Last year, I had to fly to Seattle to finish my order for Heath because the natural gas price rose 300%. I couldn't even afford to blow glass here."

Still, he acknowledges that many good things happened in a year of firsts: He had his first big residency at the Corning Museum of Glass in New York, allowing him to explore his craft without financial constraints. He also got married, welcomed a son and attended his first trade show in New York.

Currently, Mitchell spends his days at his glassblowing workshop in El Segundo, creating drinkware, vases, decorative bottles and lighting. In addition to teaching, he has done brand alignment photo shoots with Nike, Fitbit and Elder Statesmen and is working with fellow glassblower and painter Corey Pemberton on Better Together, an event series designed to support Black and brown makers.

"Cedric is one of the most dedicated, hard-working artists I know," says Pemberton, executive director of Crafting the Future, a nonprofit designed to introduce artists of color to the medium, residencies and entrepreneurship programs. "He fits more into a day than the average person would think possible. He can handle anything you throw at him and will do so with an incredibly calm demeanor."

Beyond his work prowess, he's a dedicated friend. "He is the type of friend you could call on for anything, and he'll pull up, no questions asked," Pemberton adds.

As someone who did not grow up exposed to art and glassblowing, Mitchell hopes to inspire a new generation of artists by rejuvenating the visual arts after-school program at the Watts Labor Community Action Community.

"No one is telling kids in underserved communities that they can be creators or makers," Mitchell says of his proposal, which is pending approval. "We live in an entrepreneurial revolution, and people can be their own bosses and control the narrative of what they want to do. It's scary, but it can be more risky working for someone. When you have ownership of something, you control the narrative. It's like taking the stairs instead of the elevator, but it's yours."

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