How Black Women Ceramicists Shaped Art History

An illuminating exhibition at the Ford Foundation Gallery highlights the significant contributions of Black women artists to the medium of ceramics. The exhibition titled Body Vessel Clay: Black Women, Ceramics & Contemporary Art showcases three generations of artists, with a foundational nod to the remarkable Ladi Dosei Kwali. Born in 1925, Kwali was renowned for her creation of water pots during the 1950s to 1970s in Abuja, Nigeria. By intertwining the practical nature of these household vessels with the artistic recognition of clay, she established an impactful legacy.

Her three prominent water pots, crafted between 1959 and 1962, utilize a traditional coil technique, followed by a meticulous burnishing process that yields a soft, earthy sheen. The first gallery provides context through archival photographs and publications that document both Nigerian pottery and Kwali’s distinguished career, highlighting her practice as deeply rooted in community yet recognized on the global stage.

Kwali’s artistic journey originated from indigenous Gwari pottery traditions that she absorbed in her youth. Later, at the Abuja Pottery Centre, she fused these traditional techniques with modern practices, including decorative glazing and kiln firing, while maintaining her commitment to handcrafting. As the first woman to excel at the pottery training center, Kwali opened doors for other Black women artists to pursue their artistic voices internationally.

The exhibition’s second segment focuses on contemporary ceramic works inheriting Kwali’s legacy. Halima Audu, who began her artistic journey in the 1950s, illustrates this continuity with her intricately designed jar. Its dark glaze and geometric patterns showcase how local hand-building techniques evolved within modern studio settings. Alongside Audu’s work, Magdalene Odundo’s 1979 piece reflects additional growth in this legacy, integrating new sculptural dialogues into the lineage of ceramic artistry.

Among the celebrated contemporary artists in the exhibition are Simone Leigh and Adebunmi Gbadebo, who draw inspiration from Kwali and Odundo. Leigh’s recent creation, “Village Series” (2023-2024), features a stoneware sculpture reminiscent of the intricate braiding traditions of Black women, embodying both personal and cultural connections. Similarly, Gbadebo’s piece “Sam” (2023), constructed from soil sourced from True Blue Plantation in South Carolina, melds themes of heritage and visceral memory through the inclusion of human hair, transforming the ceramic into a poignant memorial.

Notably, Phoebe Collings-James’s Infidel series (2025) occupies an adjacent space. Her work, featuring slightly elongated abstract figures, prompts exploration of themes such as vulnerability and resistance through the lens of ceramic making. The delicate balance of her pieces offers a compelling dialogue on strength and fragility.

The exhibition space hosts Nontsikelelo Mutiti’s striking graphic patterns that dominate both the entry and exit point. These geometric formations resonate beautifully with the textured surfaces of the showcased vessels. Rather than being mere decorative elements, these impressions symbolize the labor, expertise, and innovative spirit of Black women artists as they navigate and expand the boundaries of ceramic art. Ranging from Kwali’s foundational works to contemporary expressions by Audu, Odundo, Leigh, Gbadebo, and others, the exhibition presents an impactful narrative of continuity and historical resonance.

Body Vessel Clay: Black Women, Ceramics & Contemporary Art remains at the Ford Foundation Gallery, located at 320 East 43rd Street in Midtown Manhattan, until December 6. The exhibition is curated by Jareh Das.