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Wali Hawes 1952 - 2014 |
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Wali Hawes Potter's Diary |
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Harmony in IndiaPeace and Harmony The 1st International Exhibition of Studio Pottery in India symbolised the launching of Indian Studio Pottery on the International scene as well as acknowledging the fact that studio pottery in India is booming and one of the major growth areas of studio pottery in the world today. Organised by the Delhi Blue Pottery Trust – the oldest Studio Pottery institution in India, started in the early 1950s – several potters from outside India were invited to participate. These included Yushi Ito from Japan, Kate Bromwell Cole from England, Joseph Demetro from America, Francoise Dufayard from France, Lynn Dunsmore and Marlen Moggach from Canada and Mieke Selleslagh from Belgium. It also showcased the work of several upcoming Indian potters. The idea behind this exhibition was to inform the outside world that studio pottery had become a popular activity in India. Till now studio pottery in this country had been very much in its infancy. Generally outside India very little is known about the work of studio potters here and what is know is invariably seen within a very traditonal context. The organisers wanted to introduce a new India to the invitees – and through them to the world at large – one in which new cultural trends are emerging. The theme of “Peace and Harmony” had a two-fold significance – to get participating potters to express these concepts in their work, but also to spend a week together in peace and harmony, exchanging ideas and forging new links. Alongside the exhibition in a very well-frequented gallery, The Visual Arts Gallery in the trendy Habitat Centre in New Dedlhi, there were talks and demonstrations by the visiting potters and by Indian potters for the visitors. Yushi Ito, the Japanese potter from Tokonome, gave a demonstration of his particular style of nerikome, working with coloured clays throwing, cutting and assembling and throwing again, to enthrall potters and non-potters and give a step by step demonstration of the steps involved in making his beautifully simple blue, white and black bowls. His ‘nest of bowls’, sold as a lot, was snapped up immediately. The American potter, Joseph Demetro, working in terracotta, displayed igloo-like forms with jutting decorations, resembling a very futuristic urban jungle. Child-like in appearance, their making on the contrary required deft handling and a fertile imagination. Also working in terracotta was the Francoise Dufuyard from France. She had square glazed plates, with brush decoration in the centre – simple and yet so effective. The Canadian potter, Lynn Dunsmore, had brought large bowls and cups in porcelain, with paper thin walls, enhanced by the red hold hues of the ‘ultimate shino’ glaze. Her compatriot, Marlen Moggach, had more variety, both raku and reduction fired stoneware. A large plate with mishima decoration in the centre and a gold shino on the edges stole the show. The Belgian potter, Mieke, was a raku expert. Her work has featured in pottery magazines. Very elegant containers in blue or pink or orange raku with a stark black lid in the form of a temple spire. The Indian potter, Manisha Bhattacharya, also does naked raku and though the colouring was similar, her forms were different. However, amongst the Indian participants, the potters from Pondicherry in South India show the most promise, proving that Pondicherry is really the centre of studio pottery in India. One potter amongst the home crowd that needs special mention is Ela Bhattacharya. Her work is creative and powerful. She has been working steadfastly these last few years, showing a continuity of artistic expression, in which she has grown. Anuradha Ravindranath, the motivating factor behind this event, hopes that the show will lead to an exchange programme. India has a lot to offer to potters from abroad and Indian potters need to improve their technical knowledge and get exposure to work abroad. Priya Sen. New Delhi Feb 2004 17/02/2004
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