The Art of Indo Pottery Making and its Development in Trinidad & Tobago.

“There is probably no class of object which gives so much information concerning the culture of a people as pottery.” 

India has a long and rich tradition of Pottery. From time immemorial, men have used earth to make life comfortable and beautiful. They have used the muck and the mire of the earth to craft useful utensils, instruments, and other utilitarian devices. Earth was used to animate human imagination in the form of local deities, decorative figurines, beautiful statues and a host of interesting toys and dolls. It is said that man was born of the earth and is returned to earth. It is hardly surprising that man has crafted the most beautiful of things from earth – the element of which he himself is made.

In celebration of Indian Arrival Day, we honour the many contributions made by the indentured Indians, who came to settle in Trinidad and Tobago. They brought their skills as: jewelers, tailors, tattoo-makers, musicians, sweet-makers, basket – makers and potters. One With the Clay: The Exhibition spotlights - The Art of Indo Pottery Making and its Development in Trinidad & Tobago.“Every ancient civilization on earth has left behind something of its legacy in clay.” Archaeologists have proven via excavation of the ruins of the indigenous First Peoples – the Amerindians, that they crafted their own forms of pottery. These clay items were traditionally used for religious and household purposes.

However, the Amerindian population eventually diminished, along with their unique style of pottery. When the indentured Indians arrived they bridged the pottery gap. Like the Amerindians, the Indians originally used their pottery for basic household use and religious rituals. 

Today the craft of clay has evolved into a vibrant commercial venture such as: art décor and other beautiful and interesting contemporary items. The exhibition’s theme One With the Clay speaks to the blending of culture, people and art. It began with the Amerindians, continued with the Indentured Indians and has now been adopted by other ethnic groups in our society.

Many potters describe their labour of love as “Spiritual” they claim that you have to be One With the Clay. This art form is about patience and passion, and in the realm of pottery making, the clay has become symbolic of a natural bonding element that connects people, places and culture. It is the essence of beauty, formed out of the raw abundance of the earth. Out of a simple lump of earth, the master potter lovingly guides skilful hands, the potter’s wheel complies, the clay yields, takes shape and character and simply a masterpiece is born.

There are a multitude of potters around the globe made up of varied races and creed, and despite their demographic or psychographic composition they speak a universal language; one only the master potter truly comprehends. The artistry of the moulding and sculpting of the clay has transcended - race, creed, age, gender and nationality. 

Source: http://www.craftsinindia.com/products/pottery/inde... 

The freedom of the African slaves, created a new problem on the Sugar Plantations; the need for labour. This dilemma was solved with the transport of the Labourers, from India to the shores of Trinidad. The Indian Indentured labourers, brought with them their culture, religion and skills, including that of pottery making. Pottery like all art forms has evolved over time to become a full time industry.

Pottery making has undergone changes in all areas, both in process making and in the shape or form of the end product. The use of machinery in the process of pottery making has reduced the time taken to process the clay, and has been responsible for the increase in the productivity. Machines such as the pug mill are generally used to compact the clay, instead of “dancing the clay” (process by which the clay mixture is manually mixed with sand via the feet, to compact the clay for use). Pottery making has also retained some of its tradition, for example a piece of thread is still used for cutting off pieces of clay, during the forming and shaping of the piece of pottery.

India has a long and rich tradition of Pottery. From time immemorial, men have used earth to make life comfortable and beautiful. They have used the muck and the mire of the earth to craft useful utensils, instruments, and other utilitarian devices. Earth was used to animate human imagination in the form of local deities, decorative figurines, beautiful statues and a host of interesting toys and dolls. It is said that man was born of the earth and is returned to earth. It is hardly surprising that man has crafted the most beautiful of things from earth – the element of which he himself is made.

The type and variety of pottery present now, is much different than that which was produced, when the East Indian Labourers worked on the sugarcane plantations. Initially the East Indian Labourers, made pottery for practical everyday use, such as bowls, cups, pitchers and religious items to name a few, however the pottery that are currently made, include wind chimes, ceiling lights, tourist souvenirs, and lanterns have incorporated ornamental pottery.

Pottery containing designs have become more popular. The designs used, vary and may be either abstract or reflect nature. The pottery used by the East Indian labourers, were either plain or void of designs or may have contained simple designs. Today, the designs used are more intricate, and reflect nature or abstract. Designs from other areas of the world may be used or adapted to suit the pottery. Designs are further enhanced by the use of glazing (the process by which a paste or glaze is applied to pottery, to give colour). Glazing was introduced to the Radika’s pottery in Trinidad only a few years ago, in attempt to make the pottery more attractive and unique. Today it is used on a wider scale, in some pottery places, for example in Ajoupa potteries than in others.

Pottery like all art forms has evolved into a thriving and vibrant industry. It has been modified in all aspects: preparation of the clay, design, shape, and colour. Further developments in technology and in research will continue to mould this art form, just like the potters mould the clay in Trinidad.

PREPARING THE CLAY

The first step entails obtaining and preparing the clay. Most times clay is obtained from areas such as Carlsen Field, Valencia, Tabaquite and Rio Claro. When clay is dug up it is the stored in a dry place. The clay is prepared by adding water to obtain a moistened, sticky texture. The clay is passed through a machine called a pug mill. Passing the clay through this machine improves the consistency and texture of the clay by compacting it. Traditionally this process was done manually. It was called Dancing the Clay.

DANCING THE CLAY

The clay is thrown on the ground and red sand is added to it. The men walk up and down on the clay, mixing the sand into it with their feet. This walking or dancing on the clay is done until the clay has a smooth, elastic consistency.

WEDGING THE CLAY

The clay is kneaded by hand on a board and rolled into a ball.

THROWING A POT

This is the term used for molding clay into pottery on the potter’s wheel. The clay is centered on the potter’s wheel, and the potter begins to work the clay vertically up and down with his hands. Some pots are made directly on the wheel and others are made in parts on the wheel and then assembled. 

DRYING

Pots are set aside to air dry. Some are placed on shelves, in the shade and others are placed in the sun.

CARVING

Designs are carved into pottery or etched into the surface of the pottery with any sharp or pointy material available. This is done when the clay is leather dry. After the designs are made on pottery the drying process continues.

BAKING

Even though pots are air dried they still need to be baked. Pots are baked/fired in an oven or kiln. There are two types of oven, the electric and traditional dirt oven. This process is crucial as it removes excess water from the pottery, and as a result hardens the clay. Baking also changes the colour of the clay.

CRAFTSMANSHIP

The Indian immigrants who came to Trinidad and Tobago from India to work in the sugar cane plantations as indentured labourers possessed a variety of special skills in art and craft such as handicraft, pottery, jewelry making, textiles, construction of houses, boat building, sculpture, music, decoration and architecture. Their skills were a product of a cultural legacy, which gave divine and spiritual sanctity to their profession. Many were artisans and craftsmen who made a modest living pursuing a variety of trades and services.

JEWELERS

Indian Sonars (JEWELERS) were well known in Trinidad. They established a thriving business in jewelery making. They designed and made a variety of beautiful ornaments of gold and silver. The particularly fine filigree work they created in Kanphul (earrings), Nakphul (nose-rings), Chanahar (necklace) and Churi (Bracelets) were marvels of craftsmanship. They went into the villages and the sugar estates transacting business among the Indians whose love for ornaments is an inherited ancestral tradition.

POTTERS

There were Kumhars (potters) whose clay pots, goblets, vases, kalsas and deeyas were useful items for household and religious purposes. Those early potters employed the most primitive method of producing their wares by hand contrivances. Today, sophisticated modern equipment is used to mass-produce goods, transforming hand pottery into a ceramic industry.

TAILORS

Present also were darzis (tailors) and darzins (seamstresses) who made trousers, Kurtas, Jhullas, Ghangarees and other items of clothing which were carried to the market in the sugar estates on pay days.

TATTOO - MAKERS

There were tattoo-makers (godna-wallas) who, like itinerant pedlars, roamed the villages and estates announcing their arrival by the rattling sound of the small hoorka while they shouted “Aray! Aray! Suno! Suno! Godna-walla awela tayyar hoja!” (Listen! Listen! The tattoo-maker is coming, be prepared!) In responding to the call of the tattoo-maker, godnas (tattoo-designs) were etched on the arms and hands of newly wed brides.

MUSICAL INSTRUMENTS

Makers of musical instruments like the dholak, khanjri, dhantal, and sitar were found as well. The dholak was a leading instrument for keeping tune and maintaining rhythm in music, while the khanjri, a small hand drum like a tambourine, and the dhantal – the metal rod, were also percussion instruments for keeping time. The sitar required a greater degree of technical skill in construction, and the country’s great sitar maker, Ramdahin Ram, during his ninety-year life span produced many of these instruments, which are used today.

The harmonium, which has been in existence since the second decade of this century, needed the technical experts for its repairs and maintenance. The expertise of Ahamad Khan, an old time player and repairer of the harmonium was always sought.

The market place on the sugar estates was an ideal location where the purveyors of goods and services of all sorts were found. There were Telis - makers of coconut oil. This was used extensively by Indians for cooking and external uses like rubbing the bodies of babies and little children. It was also used for the hair. In those days there were no pomades or scented Vaseline and even if they existed in the 1920s, thrift and economy dictated the use of coconut oil.

SWEET - MAKERS

The halwals were the makers of sweets and sweet meats like ladoo, pera, gulba-jamoon, jalebi, kurma and barfi.

BASKET - MAKERS

Those were called tokra-walas who made small and large baskets, which were used for putting clothing, and sup in which rice was fanned. Mortar and pestle (okhli and musar), Dheki and jata were also fashioned by skillful hands. The mortar and pestle were used for crushing and the Dheki for pounding rice paddy.

Source: Conference on “Challenge and Change: The Indian Diaspora In Its Historical And Contemporary Contexts.” Commemorating the 150th Anniversary of the Arrival of Indian Indentured Labourers in Trinidad. August 11-18, 1995. Resource Material For The Schools’ Programme. (Jan-May 1995)

Generally pottery tools are divided into four (4) major categories: Shaping Tools Rolling Tools Cutting/Piercing Tools Finishing Tools

SHAPING TOOLS

Potter’s Hands - The potter uses his hands to knead (press and squeeze) the clay so as to eliminate air bubbles thus making the clay soft, smooth and manageable to work with. In addition, while spinning on the potter’s wheel, the potter uses his/her hands to shape the clay into the preferred design. 

Potter’s Fingers/Thumbs - The potter at times may use his/her fingers/thumbs to create designs, impressions or decorations on the pots before they are dried.

Potter’s Wheel - This wheel can be manually operated by hand, by stick or can be foot/pedal driven. Today some are run by electric motor. The potter’s wheel is used to mold, shape and spin the clay to make the pottery even.

Pug Mill - This machine is used to break up blocks of raw clay into smaller and smaller pieces. This process is continued until the clay reaches a consistency where it could be kneaded and eventually stretched like rubber bands.

Bucket of Water - The potter uses a bucket of water to keep his/her hands moist while shaping the clay on the wheel.

Water - Water is used to keep the clay moist (as it dries out easily) and thus manageable for moulding.

Sand - Sand is added to the clay to give it the right texture/consistency desired by the potter.

Clay - It is the mud or earth that is dug up/extracted from the ground and is the basis of all pottery designs.

Slip - Slip is a mixture of clay and water that is used as cement to join together two or more clay pieces when creating a new design.

ROLLING TOOLS

Rolling Pin - Like the potter’s hands, the rolling pin is used for kneading and thus preparing the clay.

CUTTING/PIERCING TOOLS

Moulds - These are models that are shaped in the forms of birds, bells, people, etc. and are used to create exact replicas of these.

Blades/Edges/Knives - The potter may use these to make decorative designs or grooves on the pottery piece.

FINISHING TOOLS

Kiln - A hot oven that is used to fire the pots after they are created and glazed so as to make them hard.

Glaze/Paints - Glazes /Paints are put on just before firing the pots to make them look fancier and more decorative and to make them harder and more durable.

Paintbrushes - These are used for applying the glazes/paints.

Though most of the tools mentioned above are basically used by all potters worldwide, Bunty O’Connor, part owner of Ajoupa Pottery in Carapichaima Trinidad, notes that each individual potter has his/her own unique set of tools for use. At Radika’s Pottery in Chaguanas, it was discovered that the most useful of tools are basically home-made. Some of these are:

Piece of Thread - Also called the “Chounee”. This is used for cutting off the pottery piece from the potter’s wheel.

Sponge - This is used for smoothing the surface of the clay pot while spinning on the wheel just as masons do when smoothing semi-dried cement surfaces.

Iron Pole - The potter uses this for cleaning off excess sludge from his hands.

Cocoyea Stick - This is used by the potter for measuring so as to evenly attach one piece of pottery onto another.

Scraper - A hard piece of plastic, wood or bamboo that is used for cleaning off any excess sludge from the pot.

Exacto Knife - This is used for creating designs on the pot while still leather hard. 

INTERVIEWS

INTERVIEW WITH BASSANT C:
1. Tell me a little about yourself, your family and their involvement in pottery making?

Bassant Charran is a fourth generation potter of the Ticklal family, and is the nephew of Radika Benny the previous owner of Radika’s Pottery. He is affectionately called “Kohar” (a Hindu name given to people who work with clay).

2. How long has your family been involved in the art of pottery making?

Four generations.

3. How has the skill been passed on?

The skill is passed from one generation to the next as the new generation is taught the skills which are needed to be a good potter. They learn the skills from a hand on approach, and from helping in the trade and business.

4. How long has the business been in existence?

The business has been in existence since 1984.

5. Who started the business?

Pottery making was started by two male members of the Seecharran family, who came from India. They became involved in the pottery business after the shrinking of the sugar industry, as a means of income. Following the shrinkage of the sugar industry they were given a parcel of land to develop. The Charran family in Chaguanas is a direct descendant of the Seecharran family.

6. Has pottery making in general been influenced by anything, over the years?

The ornamental flavour of their work is a direct result of the need to improve the design element of the pottery. The inspiration for designs came from various places including books and patterns from all over the world.

7. Has the skill of pottery making in general been influenced, by non family members?

Yes, the art of pottery making has been influenced by the skills of craftsmen from different areas of the world.

8. How many family members are presently involved in the pottery business? What are their roles?

Not many family members have continued to use pottery making as a form of employment. However it is a skill that involves both males and females. The female have taken over the design element or pottery making.

9. What changes, if any, has the business gone through over the years?

The family has retained some of the techniques and forms of pottery making. They have incorporated machines in the process, such as the Pug Mill. They have however introduced more design elements to the process.

POTTERY MAKING PROCESS AT RADIKA'S
1. Can you please explain and show the steps involved in making a simple pot? What is the first step in pottery making?

The first step in making a pot is sourcing the clay.

2. Where do you get the clay from? (Name of place or geographical region)

Clay is sourced from Carlsen Field. Clay needs to be harvested on a clear piece of land, normally at least three feet of land is cleared in order to harvest good clay that is free from debris. Care must be taken as clay may have bottles, nails.

3. How costly is it to obtain the clay?

There are several costs involved in securing the clay. A truckload of clay costs about $500.00 dollars and additional cost may include-paying the following: the backhoe driver, the truck driver and the workers. It is costly, but it helps maintains a living.

4. Are there different types /variations (colours, textures, grades) of clay?

Clay in Trinidad has many colours. To insure good grades of clay at all times, the old clay is taken and filled in on the land and harvested some time later.

5. How is the clay stored before use?

In two (2) large bins, in its natural state.

6. Are there any particular or ideal conditions for storing the clay?

It is important to keep the clay moist so in the dry season water is thrown on clay.

7. How important are these conditions and why?

The conditions are important in to make the clay pliable.

8. Has there ever been a shortage of clay and why?

Traditionally there has not been a shortage of clay, but because the government controls Carlsen Field there are certain restrictions.

9. In the case of shortage of clay, what do you do? Do you stop making pots? What happens?

Work never stops.

10. What has been the longest down time ever experienced?

None.

11. After collecting the clay, what is the next step?

The clay is normally delivered in big blocks and then broken down into smaller pieces. It is soaked with water to moisten so that it could be kneaded.

12. Is there any particular machine used?

Yes.

13. What is the name of this machine?

A Pug Mill.

14. How does it compare to what might now be termed the traditional method?

The traditional way of mixing the clay is known as “Dancing the clay”. This was done with the aid of feet, to mix sand and clay together to remove the air from the clay and make the clay pliable. With the aid of the pug mill, less time and labour is spent on the preparation of the clay.

15. Why is the clay put into the machine?

The mixture is placed in a pug mill to stretch the clay like a rubber band and to remove the air from the clay.

16. What is the next step, why is it done?

After the clay has been processed by the pug mill, it is ready to be used for pottery making, however before the clay is used, it is briefly kneaded.

17. Are there different techniques used when moulding clay into pots?

There are two main techniques in making a pot; depending on the size of the pot. Some are made directly from the wheel (small pots), whilst others are first made, in pieces which are then assembled(larger pots).

18. When the pots are shaped, where or on what are they put to dry?

The pots are placed in a separate corner away from foot traffic to be air dried. They are placed on wooden shelves, or either on the ground.

19. Tell us about the glazing process- what types of products is it applied to?

• The glazing process helps to keep the water from seeping into the clay. It highlights as well as strengthens the pottery. The Duncan glaze used is imported from the USA so it is very expensive. It is lead free making it safe to use for utensils and ornamental purposes.
• Glaze is applied with a paintbrush by hand and there is no need to fire the pot before the glaze is applied. The glaze needs to be mixed with other glazes to get the various colours.
• The glazing process is not very profitable but it is a means of survival.

20. Why was glazing introduced at your factory?

The glazing process started because there was a demand for this type of pottery.

21. What is involved in the drying process and how long is the drying process?

Even though the pots are dried by air they still need to be baked, to create the finished product.

22. Explain the baking process?

• Fire is used to heat the pots to ensure their durability; it is a process that usually takes 18-20 hours. The fire is situated underneath the earthen oven and is fed large pieces of wood to ensure its continuity. Although red wood is preferable for heating as it brings out the colour in the pots, any type of wood can be used.
• The oven is pre-heated before the pots are placed inside. When the fire is ready the pots are placed inside the oven and covered in layers. The first layer is made up of pieces of broken clay. Newspaper (E.g. Trinidad Guardian) is then placed atop that and the last layer is of grass. The steam that is generated by this layering process is what actually bakes the pots.

23. Do you export and to which countries (local regional, international)?

In the past, the Charran family were part of a vibrant export market, trading with Montserrat and Barbados, among other Caribbean Islands. Now trading is done at large international expositions, (particularly in Germany) where potters from all over the world display their ware.

24. What tools are used to create pottery?

• The Scraper is a small piece of any sturdy material, including bamboo or plastic. It is used to scrape excess clay called slush from off the pot. The removal of the slush will ensure a firm grip, which prevents damage to the pot when moved from the potter’s wheel.
• Piece of Thread - Also called the “Chounee”. This is used for cutting off the pottery piece from the potter’s wheel.
• Potter’s Wheel – made from car parts, on which the clay is moulded, shaped and spun the clay to make the pottery.
• Stick made from cocoyea (the branches of the coconut tree) - used for carving, and for measuring the diameter of pots. This is especially used when large pots are made in pieces.
• Sponge - used to smooth the surface of the clay.
• Plastic fork - Helps in making indentations or other decorative designs on the item created.
• Bucket of Water - The potter uses a bucket of water to keep his/her hands moist while shaping the clay on the wheel.
• Iron Poles to take off excess slush off the potter’s hands.

25. What was the first traditional design?

The first traditional design was the deya and flower pot.

26. Are they are any dangers involved in pottery making?

Not many dangers except for arthritis caused by consistent exposure to heat and cold.

27. What are the names of some of your pieces and what has inspired the names.

• Betty Crocker cock mouth jar - influenced from a Betty Crocker Commercial. (Girls names are normally assigned to jars).
• Well – resembles a traditional well and is made in three pieces.
• Genie Jug.
• Lantern - influenced by the Amerindian heritage brought across form Venezuela.
• Male and Female Goblets - are so named because of their long necks.Male and Female Jug - used by the Baptist faith.
• Deya House - used by the Hindu religion.
• Coal Pots - influenced by the African Heritage.
• Candle Shade with Saucer.
• Lo Bhandhani - used by the Hindus for puja.
• Piggy Bank - a unique vessel for saving money that cannot be broken until filled.
• Castle - a design which resemble a lighthouse.
• Diana - a vessel named after the first person who came to purchase it.
• Wall Lights - used by Tobago Hoteliers as fixtures.
• Wall Pockets - used to place hanging plants.

AJOUPA POTTERY

INTERVIEW WITH RORY AND BUNTY
1. Tell me a little about yourself and your family?

Bunty was originally in the construction industry and Rory always had a passion for pottery making. She attended college in England and also took classes in pottery making and in glazing, studying under Holly Guyadeen She repeated the course for at least two years, as often as she needed to perfect the art.

2. How long has your family been involved in the art of pottery making?

We have been involved in the business for twenty years.

3. How has the skill been passed on?

Through the grandchildren.

4. When started the business?

In 1987 Bunty and Rory bought an abandoned warehouse in central and set up their business because there was a lot of clay there.

5. How long has it been in existence?

Twenty years.

6. Was the skill of pottery making influenced by any processes?

The skill of pottery making was influenced by the need to produce clay which would allow Bunty to express herself as an artist. One of the things we did was to add shredded paper to the clay to improve its sculpting quality.

7. With regards to the skill have there been any persons other than family members who have influenced/altered/ changed the skill of pottery making in any way?

The original potter (Mungroo Golcharran related to Charran family of Potters died some years ago) but his son (Ganness Persad) is working with Rory and Bunty.

8. How many family members are actively involved in this craft/business and what are their roles.

Currently only Rory and Bunty.

POTTERY MAKING PROCESS
1. Can you please explain and show the steps involved in making a simple pot? What is the first step in pottery making?

The first step in making a pot is sourcing the clay.

2. Where do you get the clay from? (name of place ie geographical region)

Clay is sourced from two sources: Carlsen Field (where we get the red coloured clay) and National Quarries in Valencia (where we get the grey coloured clay).

3. Are there different types /variations of clay (colours, textures, grades)?

The red clay shows evidence of the iron oxide and the grey shows little iron oxide. The blending of the two sources allow for the clay to be fired at a higher temperature and to produce a “redder” colour.

4. How is the clay stored before use?

Clay is stored on the ground but needs to be covered with tarpaulin.

5. After collecting the clay, what is the next step?

The raw clay has a mixture of rocks, gravel, sand and roots and so must go through a refining process. The process involves mixing 20 buckets of red clay and 20 buckets of grey clay with water.

6. Is there any particular machine to mix the sludge?

Yes.

7. What is the name of the machine which mixes the sludge?

• The Blunger which has a paddle that mixes the product into sludge. The consistency from this process is called a slurry which is the dried by spreading it on the ground and turning it over with a shovel. The slurry however must be covered with tarpaulin.
• The next step is to blend the clay by hand; this involves kneading the clay like you would flour. The pushing motion of the hand lines up the microscopic plates in the clay.

8. How does it compare to what might now be termed the traditional method?

Traditionally, the clay was mixed by hand.

9. Why is the clay put into the machine?

To make the clay into a pliable consistency.

10. What is the next step, why is it done?

The next step is to “throw a pot”- make a pot.

11. Are there different techniques used for making mosaics?

• Paper clay is used to make large slabs that don’t crack.
• A slab roller or rolling pin is used to roll out the clay. The design previously drawn on paper is placed on the slab of clay. The outline is marked with the design with a wooden skewer. Quick, thick strokes are used to add to the spontaneity of the design.
• An exacto knife- is used to cut out the pieces on the clay. This may take the entire morning depending on the design of the mosaic. Mosaic designs are based on the beauty of Trinidad.

12. Tell us about the glazing process- what types of products is it applied to?

Glazing or painting takes about 6 hours to do. Two sets of firing are done, the first bisque firing to get the clay to its hard texture. In the state before firing it is considered ‘green’ and very fragile. The second firing is done after it is glazed. The clay is put into the kiln for the second firing and it is then the glossy finish will appear.

13. Explain the baking process?

• The firing of the kiln involves a 3 tiered process: Green Wear- biscuit wear- finish glaze. The kiln is electric.
• Firing the clay for ‘bis’ wear is at 1000 degrees
• Firing the clay for the glossy finish is done at 1200 degrees for 6 hours. The kiln is loaded up to a point with 10 shelves being the maximum.
• Some times the clay is fired three times at 1160 degrees to glaze the inside of items. This makes the item very expensive, but also insures a good quality.

14. Do you export and to which countries (local regional, international)?

We used to export but not presently. We followed a simple process: package-catalogue - price – sell - export.

15. What tools are used to add the various designs?

• Needle – to cut off the top of the pot
• Flat wood – for scraping and smoothing the outside and to remove marks.
• Ice pick with metal tip at the end - used for cutting off excess clay from the bottom of the pot.
• Wire between two pieces of wood - used to cut off the top.
• Mould – An object which contains a particular shape or pattern, used for pottery making.
• Press – Machine used to flatten clay to a desired thickness.
• Exacto knife – Knife used to cut out shapes or pieces of the mosaics.
• Slab roller /rolling pin – Used to flatten clay to the desired thickness and shape.
• Wooden Skewer – Used for etching patterns in the flattened clay for mosaics.

16. Are there any medicinal uses for the clay?

Basic clay can be used to help with gastric problems, and is good for the skin.

17. How many pots can you do in a day?

60 pots per day. The previous potter could have thrown together 2000 pots per day before he died.

18. What are the names of some of your pieces and what has inspired the names?

• Vases, plates, jugs, funky bits and pieces, tiles, lamps, pots, hens, alligator in the form of a jug, other artistic pieces. No two pieces are the same. Some pieces evolve out of protest action. Other pieces were inspired by different places, such as ASA Wright and Wild Fowl Trust. One piece was influenced by the pottery used for the set of the television show the Young and Restless.
• Clay has been entrenched in the lives of Rory and Bunty, on their floor, in the utensils that they use and the design structure of their home.

19. Why the name Ajoupa?

Meaning- Making small houses out of clay. A friend John Newel Lewis, an Architect noticed that we were making Ajoupa’s -Amerindian name meaning shelter. He wrote a book under the same name and we asked him to use the name.