The finished piece is a sculpted ceramic mug with a Medusa face flowing into glossy blue snake hair, and it apparently functions as a usable drinking vessel despite all the ornament on it. A white glazed body keeps the color work readable, and the shiny metallic gold stars and scale accents give the snakes and forehead some sparkle. For a piece this busy, it still reads as one object rather than a pile of parts, which is not easy to pull off.
The construction path stands out to me. The maker throws a bulbous vessel on the wheel, trims the base with a ribbon loop tool, then scores and slips an oval patch on the exterior before coiling the snake hair over a sculpted face. The coils are rolled, twisted and adhered, and the snake heads get shaped and carved individually, so no two snakes look stamped from the same mold. Clay modeling tools, a brush and fingers define the features, and an attached handle completes the form.
The finishing sequence is interesting too. Underglazes go on by hand after the bisque firing, with blue gradients on the snakes, pink on the cheeks and fine black lines for the expressions. After a dip in glaze and another firing, gold luster is added, worked on with a fine detail brush. One open question from the comments remains unanswered: how the wheel-thrown body is kept from drying out before the sculpted parts get joined.
The maker filmed the whole process on a phone to document the work, and says filming is a hassle for a ceramic artist, including getting clay all over the phone. The finished mug reportedly came out of the kiln with glossy blue snakes and gold accents intact, so the filming trouble seems to have paid off.