After he had taken in his art, he left New Orleans for a two-year, sixteen-state visit through stonewares in the United States to gain proficiency with everything he could about the calling. He got back to Biloxi and assembled his ceramics shop himself. He created the entirety of the ironwork, made the potter's wheel, the furnace, boated blunder downriver, sawed it into sheets, and built his shop. Joseph Meyer had shown him how to utilize the common assets around Biloxi, how to find and burrow earth from the banks of the close by Tchoutacabouffa River. Ohr paddled his dinghy up the stream, burrowed the dirt, and drifted his heap down the Tchoutacabouffa.
At the point when his furnace and supplies were prepared, he took a stab at the potter's wheel creating commonsense things like containers, mugs, grower, window boxes, and water bottles. He figured out how to create better work, too. Ohr alarmed the workmanship world at the 1885 World's Fair in New Orleans with his exceptional pots. He showed around 600 pieces, which were taken before he could get them back to Biloxi.
One great result of the World's Fair was his romance and union with a youthful German lady whom he had met in New Orleans, Josephine Gehring. Before long a short time later, Meyer again welcomed Ohr to work with him at the recently made New Orleans Art Pottery. For a very long time, 1888 to 1890, Ohr worked in New Orleans tossing immense nursery pots.
After the New Orleans Art Pottery left business, Ohr got back to Biloxi and again went into genuine creation for himself. Biloxi Art and Novelty Pottery, as he called his pink shop, in a matter of seconds was packed with vessels, everything being equal, sizes, and enrichments, "rural, elaborate, new and old molded containers, and so on" As he made his pots, he likewise made himself. Ohr introduced himself as an uncontrollably flighty individual reckless, devilish, wearing streaming facial hair and hair, and snaring his mustache over his ears. He gave his business a festival air.