As a boy, he already knew that he didn’t want to study a lot and would rather focus on a craft. Originally, he planned to apprentice as a carver or a skilled carpenter, but he heard that the Majolica school in Modra was expanding its pottery program, so he went there with his father to take a look. And when he saw firsthand how the pottery wheel spun for the first time, the decision was made. He was captivated by this activity, not even realizing that something like this was possible.

After school, he stayed to work at the Slovak Folk Majolica as a potter, and his skill was recognized in several pottery competitions. In 1996, he decided to strike out on his own. For a trained potter, painting was more challenging, but since painted ceramics from Modra were in demand at that time, he tried his hand at painting as well. However, he struggled, so he searched more and more for where he could better utilize what he truly had a knack for, which was turning on the wheel.

When he was leaving Majolica, the former production manager, Ľudmila Focková, recommended that he try stoneware, as no one was working with it in our region. He later verified this material practically as well, when he helped to turn for his acquaintance, ceramicist Jane Hlináková. And the decision was made – he switched to stoneware. He upgraded his kiln to a higher temperature and began adapting the shapes of his products to practicality. The utility of shapes became a challenge for him, which he easily verifies in his own household, where he uses his own products.

Modra majolica was not primarily intended for everyday use due to its delicacy, fine cracks in the glaze, and subsequent seepage. Harder stoneware aligns more with his nature. Miloslav Orságh’s products are characterized by perfectly shaped forms and the use of a single-color matte glaze in cream or green. His range includes teapots, cups, bowls of various sizes and shapes, plates, bottles, vases, mugs, glasses, and most recently, baking dishes with a chamotte admixture to withstand higher temperatures. The master’s priority is people’s satisfaction with the durability and practicality of the product.

In 2009, he obtained a certificate as a master of folk artistic production, awarded by the Commission for Assessing the Professional Competence of Workers in Folk Artistic Production, for preserving and developing utility production of stoneware handcrafted on the wheel.