Wali Hawes 1952 - 2014
                          pottery and more!

Wali does pots and more..

Each piece of pottery has an underlying sub-text where the artist derives his inspiration for the work.

You can view a larger version of the pictures by clicking them.




Bindu quite simply means "dot" in Hindi.

The origin of this series goes back to an article by Haku Shah "Bindu-The dot personified" published by The Indian Institute of Technology, Industrial Design Centre in Mumbai.

In the article Shah illustrates how "Bindu" as used by the Chaudhari tribals in Gujerat infuse a great deal of symbolism and larger imagery either in groups or arrangements.

As a potter working in 3D, I immediately saw that "bindu" could be changed from it`s original 2D format. "Bindus" are usually painted on walls. They have been used as installations, decorative pieces and as tableware.

In this case, "bindu" was made from terracotta and decorated with metallic salts. It is wood-fired in a simple brick kiln constructed expressively for the purpose. dia 34cms. 2002. Made in Reunion during my residency at ART-SUD.



"Breasts" A poem by Reed Gage with ceramic letters by Wali Hawes.
Letters in semi-porcelain clay from Seto. Underglaze decorated with a transparent glaze. Oxidation fired to 1220C. Approx 13cms high.

More than a thousand letters were used to compose this poem. The letters laid out measured 10 metres x 4 metres.

Selected for The Oppai Art Lab, Kyoto. 2001

Breasts by Reed Gage

"Breasts!" Big and bouncy, wide or wobbly, small and white (or dark) what`s right?

Nipples! Nipples! That protrude like teats or flat ones (like poker chips) and brownish-coloured nipples, pinkish nipples and even reddish ones too, smooth ones, corrugated ones, sensitive nipples or not so sensitive or unfeeling numb nipples.

How about breasts that are as hard as rocks? Like a gymnast or gold medal swimmer? Or soft and squeezable ones that fill your hands like putty. Or breasts set wide apart or close together with no cleavage, slight cleavage or deep cleavage.

We can call them boobs, tits, jugs, knockers or bosoms. These warm protoplasmic skin
bags are composed mainly of water, fat and salt. Why then do men kill for them, dream of them and helplessly grapple for them?

As kids suckle them,
lesbians knuckle them,
sex fanatics strive for them,
young girls envy them,
bra designers fit them and ladies carry them somewhere between their shoulders and stomachs.

And useful, aren`t they?
As a pillow for a small boy`s head, or a cushion between two dancers dancing.

These breasts, a creative form from the creator to further differentiate woman and man
ultimately brings them closer together.



This work was made in Tokoname in 1998 and presented at a show in the INAX Gallery in Kanazawa.

Bonsaibatchi clay (a clay rich in manganese), slip decorated and glazed with a saturated manganese glaze. Fired to 1180°C in a gas kiln. Oxidation firing.

Face is from a mould of Mami Kato. The piece is crowned with a gold lustre dish with spikes.



This lingam like piece has allusions to the towers of a "mandir" though you will find it hard to see the similarities other than it rises up!

It was presented at a show in the Gallery Kyoueigama in Tokoname as part of the "United Clay FC" exhibition in December 2001.

Wheel formed the piece has numerous additions tacked on giving it a certain "restrained exhuberance". Seto semi-porcelain fired to 1220°C. Underglaze colours with a transparent glaze. Overglaze gold lustre



Ikeban installation by Ruriko Iesaka. This work, which comprises 100 "shoots", was selected for The Flower Vase Bienal in Tokyo and organized by the Sogetsu-kai.

The "shoots" are wheel formed and spring up from a slab rolled base giving the impresion that one artist described as "an urban landscape" Seto semi-porcelain with a transparent glaze. Fired to 1230°C in a gas kiln. Oxidation.


Other Pieces


Half Cup Vase Glasses



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