Leading the Way in Clay’s Art and History
From hosting a clay-and-movement lab to demonstrating Pre-Columbian rock-and-paddle techniques, from exploring clay as a metaphor for leadership to explaining its role in medieval archaeology, the world-renowned Ceramics Program at the Office for the Arts at Harvard attracted students and professionals from within and beyond the University. Nearly 500 students joined classes throughout three terms to create figurative and abstract sculpture, functional vessels, tiles, and murals with guidance and inspiration from leading practitioners in the field.
At the end of each term, functional and sculptural work was featured in exhibitions that drew upwards of 6000 visitors.
FAS Course Connections
Collaborations with two FAS courses introduced 34 Harvard students to relevant ceramic technology. Program Director Nancy Selvage worked with Visiting Professor Joachim Henning (“Introduction to Medieval Archaeology/History 1140”) and Senior Lecturer Jeffrey Quilter (“Ancient Cultures of the Andes/Anthropology 1176”) to design studio visits.
Archaeology can offer history students the connection of big theories to their concrete tangible implications,” said Teaching Fellow Anne Porter of the December 3 session on medieval craft, “and getting their hands on clay definitely accomplished that goal.” On April 24 and 26 Rothschild Visiting Artist José Yamunaqué demonstrated distinctive Pre-Columbian techniques. Research Fellow Huang Chen, who documented the presentation on video, remarked, “As an art historian with a focus on neolithic Chinese, I’m especially interested in connections and comparisons between Chinese and Pre-Columbian art.”
Culture and Innovation with Visiting Artists
Artist-in-residence Meng Zhao gave a special presentation in each of the spring classes. The complex modeling and unusual surface treatments of his sculpture reflect the Yin-Yang philosophy that considers phenomena as two opposing aspects. “Water is a paradox,“ he says. “It is tolerant to any outside pressure to be shaped into any forms. However, it is strong enough for small water drops to dig deep holes in hard rocks through the ages.”
At the February Clay All Night, students were captivated by the clay-and-movement laboratory conducted by Clifton Visiting Artist and choreographer Rachel Cohen ’95. Cohen explored the expressive potential of clay as she dove into spinning vessels thrown by Dave Tishfield ’09 and Greg Valiant ’06 and joined Cambodian artist Yary Livan in a rhythmic kneading of clay with their feet.
In March, Korean Potter Sung Jae Choi captivated the attention and awe of 50 workshop participants as he expressively drew with his finger through thick wet slip brushed on the surface of vessel forms. “He infuses Korea’s traditional Punchong technique with new vitality,” observed British potter Phil Rogers.
Two renowned Bizen masters, Isezaki Jun and Kakurezaki Ryuichi, and Isezaki’s son, Isezaki Koichiro, joined American colleagues and former apprentices in April for video presentations, discussions and master classes on “Bizen: Generational and Cultural Crossover.” More than one-hundred participants enrolled to learn more about their creative approach to working with the subtle interaction of coarse Bizen clay with flames that carry pine ash. Isezaki Jun was designated a National Living Treasure in Japan in 2004 and carries the responsibility for the cultural vitality of this 800-year-old ceramic tradition.
Wasma’a Chorbachi, Rothschild Visiting Artist,
conducted a collaborative mural-making workshop entitled “Creativity and Spiritual Expression” at the Ceramics Program in April and May. This summer Chorbachi
conducted another workshop with 12 Harvard Divinity students and staff to create a mural for their school. A Ph.D. in Art History from Harvard, she is a researcher and artist focused on the development of Islamic design. “I am exploring the mysterious and intuitive link,” Chorbachi said, “between spiritual expression and creative practice.”
