This Ceramic Artist’s Clay Creations are Rooted in African Culture

Osa’s clay pottery may be influenced by African culture, but it has a unique popular appeal that is universal and enduring. Osa Atoe is a Nigerian-American potter with a degree in sociology who left his career in 2013 after attending a community pottery class. Her pottery practice ultimately took place in her kitchen in New Orleans, Louisiana, and now occupies a full-sized studio in her home. His current home is Sarasota, Florida. To fully understand the scope and influence of Ato’s work, we need to look back at the complex history of African ceramics and black artists.

In the 19th century, enslaved African American stoneware potters, many of whom are little known, brought with them West African clay and art-making techniques. At the time, the Old Edgefield area of ​​South Carolina was the center of the stone tool production and pottery industry in the decades preceding the Civil War, and slave labor was used to meet production demands. One such historical artist was David Drake (circa 1800-1870s). He was an enslaved potter, and in 2020 the Metropolitan Museum of Art acquired one of his stoneware pieces and featured his work.

In general, I see the skills of workers in the Old Edgefield neighborhood as a form of resistance and resilience. They speak to the lived experience and courage of people to preserve the traditional art forms and techniques they brought with them. Although Atto’s art may not be directly connected, her philosophy is similar to that behind Old Edgefield pottery in that her clay work is primarily based on traditional West African art. Masu.

225 magazine Ato’s art is primarily influenced by many cultures around the world, but she says she draws inspiration from her Nigerian roots, as well as some elements of Greco-Roman and Native American culture. Masu. But her pottery is also inherently American, symbolically reflecting the melting pot that American society represents.

If you analyze her African pottery closely, you will notice the frequent use of lines and other geometric shapes. This is reminiscent of early knock art and pottery, which featured incised lines that covered much of the surface. However, line drawing is a universal art and can be associated with different cultures in many parts of the world. Atoe explains more about the inclusivity of her technology in the video below.

One of the industry elders and educators that Atto has been influenced by is David MacDonald, whose work has been widely featured in various museums in New York and beyond. clock 2 minute teaser for the upcoming “Vessels for the Human Spirit” full-length documentary About the life and work of David McDonald, a ceramic artist and retired professor of ceramics from Syracuse University. Interestingly, this documentary was also directed by Atoe, in collaboration with Amilca Navarro.

According to the Everson Museum of Art,

“For more than 40 years, David MacDonald has expertly created richly patterned utilitarian objects from clay that have come to symbolize tremendous integrity and perseverance. Despite being nationally recognized for our great work, creating beautifully shaped, functional works of art that are moved, held and, most importantly, used by those who admire and appreciate them. I am most satisfied with the fact that I am dedicated to and creating their natural beauty.”

Learn from African pottery people such as Macdonald as well as Jab Nala, and learn the history of Ladi Kwari (c. 1925 – August 12, 1984) Atoe’s work at the Abuja Pottery Center in the 1950s made him feel connected to his ancestors. Ladi Kwari or Ladi Dosei Kwari was a Nigerian potter, ceramist, and educator. She is known for using the coiling technique to shape clay into containers such as water jars, cooking pots, and bowls.

Now, Atoe is encouraged and empowered by seeing her art used in the daily lives of different people. She envisions her clay creations fulfilling household needs, whether as morning coffee or tea, or as gifts for important birthdays and weddings. To that end, Atoe has cultivated a strong sense of self-awareness. Community via her Instagram page There is also a hashtag where past customers can post photos of how they use Pottery by Osa products. This shows that people and community are at the heart of Atoe’s work. Building on this concept, it becomes important for her to continue to embed themes about the universal nature of everyone’s humanity in her work.

When it comes to African pottery, Black creators often face a lack of visibility, making it extremely difficult to find mentors and find inspiration from a sense of community. If this statement resonates with you, check out Atoe’s interview entry. well-crafted kinship — A visual journey through Caribbean art featuring over 60 contemporary Black and Caribbean artists, curated by award-winning multidisciplinary artist and textile surface designer Marlene Barnett.

The book is available on Amazon, and the description reads:

“Through powerful interviews and gorgeous photography with over 60 artists and designers of Caribbean heritage, well-crafted kinship It takes readers on a unique journey through the world of Black Caribbean creativity. Each manufacturer creates an affinity with the land, people and culture of their country of origin. Their art deeply explores and reflects themes such as African origins, ancestry, black femininity/black masculinity, identity, joy, memory, and the complex and painful history of immigration and diaspora. It is often an interdisciplinary art, created by makers who eschew traditional labels by reshaping the boundaries between art and design. ”

In other news, Atoe will be speaking at an event in the new year of 2025. Details are below.

Symposium on women working with clay
Feature presenter: Osa Atoe
date: June 9-11, 2025, Hollins University, Roanoke, VA.

explanation: Alongside Andrea Keyes Connell, Shika Joshi and Crystal Morley, I will be demonstrating the creation of pots in earth tones. It is an intricately carved piece on the potter’s wheel, decorated with a combination of glazes and terra sigirata made from both commercially available and wild-foraged clays. . We’ll show you how to arrive at a voluminous, wheel-thrown form influenced by historic (often coil-built) pots. How to plan and execute symmetrical and balanced geometric patterning. How to form a functional and attractive handle and spout. and how to create and apply a sophisticated decorative slip called terra sigillata. I also bring clay samples and tile tests and share recipes.

source:

“About.” Osa Atoe2015, Potterbyosa.com/pages/about

“The Resistance and Resilience of Clay: How Enslaved African American Potters Give Shape to Their Lives | Huntington.” huntington.org,2024, Huntington.org/verso/resistance-and-resilience-clay-how-enslaved-african-american-potters-gave-shape-their-lives

“Osa Atoe: Remarkable People” [225]2018, www.225batonrouge.com/our-city/osa-atoe-people-watch-2018 Accessed December 31, 2024.

“10 facts you should know about Nok Art” Google Arts & Culture, artsandculture.google.com/story/10-facts-you-need-to-know-about-nok-art-yemisi-shyllon-museum-of-art/jgVRzgYY_kEJeQ?hl=ja

“David McDonald” david mcdonald,2024, www.davidmacdonaldpottery.com/ Accessed December 31, 2024.

“Newly acquired: Ladi Kwari’s water bottle” no frameMay 3, 2024 unframed.lacma.org/2024/05/03/new-acquisition-ladi-kwali-water-jar Accessed December 31, 2024.

“Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers: Barnett, Malene: 9781648290992: Books – Amazon.co.jp” Amazon,2024, www.amazon.ca/Crafted-Kinship-Practices-Contemporary-Caribbean/dp/164829099X Accessed December 31, 2024.