For over fifty years, Dame Magdalene Odundo has revolutionized the world’s perception of ceramics, transforming it from a mere decorative art form to a profound intellectual and humanistic practice. Born in Nairobi, Kenya in 1950 and currently residing in the United Kingdom, Odundo is renowned for her exquisite burnished surfaces, graceful curves, and lifelike presence in her ceramic creations. In recent times, her influence has transcended the confines of museum spaces and extended into the realm of high fashion, solidifying her position as one of the most influential ceramic artists of our era.
However, Odundo’s artistic journey did not commence with clay. Initially trained as a graphic artist in Kenya and later in India, her early education was rooted in visual communication and design, emphasizing precision and clarity. It was not until 1971 when she relocated to England with intentions of studying commercial art at the Cambridge School of Art, that her path veered towards pottery after attending evening classes in metalwork, etching, and eventually pottery. The moment her hands touched clay, her artistic trajectory took a definitive turn.
What started as a tactile exploration swiftly evolved into a cultural investigation. Between 1974 and 1975, Odundo embarked on a journey through Nigeria and Kenya, learning hand-building and low-firing techniques from local women potters. She also delved into studying blackware pottery in New Mexico. These experiences became the bedrock of her distinctive artistic language: hand-built vessels, left unglazed and burnished to a radiant sheen, drawing inspiration from African, European, Indigenous American, and ancient ceramic traditions.
Odundo’s academic pursuits mirror the discipline of her studio practice. She attained a BA from West Surrey College of Art and Design (now the University for the Creative Arts) before completing an MA in ceramics at the Royal College of Art in 1982. Subsequently, she shared her knowledge as a lecturer at the Commonwealth Institute, the Royal College of Art, and the University for the Creative Arts, where she later retired as a professor in 2015. Her dedication to education did not cease there, as she was appointed Chancellor of the University for the Creative Arts in 2018 and was honored with the title of Dame Commander of the Order of the British Empire (DBE) in 2020 for her contributions to arts education.
Central to Magdalene Odundo’s practice is the vessel, symbolizing both functionality and metaphysical depth. These forms serve as representations of the human body, embodying fragility and resilience, shaped by both emptiness and structure. Employing ancient coiling techniques and hand-building each piece, Odundo meticulously burnishes the surfaces of her creations. Through firing, her signature oranges and blacks emerge naturally, without the use of glaze, preserving the clay’s porous and tactile nature. The silhouettes of her vessels evoke human anatomy, with narrow necks resembling spines, swelling bellies alluding to breath or pregnancy, and subtle asymmetries mirroring human imperfections. Drawing from various civilizations such as ancient Egypt, the Cyclades, Aztec cultures, and Yoruba and Zulu traditions, her vessels exude a timeless quality that transcends trends while remaining distinctly contemporary.
Since the 1990s, Odundo’s work has been embraced by major institutional collections including the British Museum, the Art Institute of Chicago, and the Metropolitan Museum of Art. In 2020, a vessel from 1990 fetched nearly $1 million at Sotheby’s London, marking a significant moment that positioned ceramics in the upper echelons of the fine art market. Solo exhibitions at esteemed institutions like the Hepworth Wakefield, Sainsbury Centre, Fitzwilliam Museum, and High Museum of Art further solidified her global prominence. Her debut at Xavier Hufkens in Brussels showcased her willingness to experiment while maintaining a remarkable consistency in her work.
In January 2026, Odundo reached a new audience when her art became a central inspiration for Jonathan Anderson’s debut couture collection as the creative director of Dior. Presented at the MusĂ©e Rodin in Paris, the Spring/Summer 2026 haute couture show titled Grammar of Forms integrated Odundo’s sculptures directly into the presentation. Anderson translated her silhouettes, terracotta palette, and burnished textures into pleated gowns, voluminous skirts, and sculptural outerwear, garnering acclaim for the collection’s craftsmanship and cultural significance. This collaboration also sparked discussions on attribution, compensation, and the ethical considerations of artist-faashion collaborations, shedding light on the recognition of contemporary African and diasporic art in high fashion.
Despite global acclaim, Odundo remains steadfast in her studio practice, drawing from enduring themes such as migration, identity, vulnerability, and continuity. Whether working with clay, bronze, glass, or graphite, her process remains deliberate, physical, and contemplative. Through her vessels, Odundo bridges past and present, art and craft, body and object, creating a language that resonates across cultures and generations. In her hands, ceramics are not merely molded; they are imbued with life.
Featured Image: Cristian Barnett for The Arts Society The world is constantly changing and evolving, and with it, so are the ways in which we interact with each other. In recent years, the rise of social media has transformed the way we communicate, connect, and share information with one another. From Facebook to Twitter to Instagram, platforms like these have become integral parts of our daily lives.
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In addition to facilitating communication, social media has also changed the way we connect with others. Platforms like Facebook and LinkedIn have made it easier to network and build relationships with people in our industry or with similar interests. We can join groups, attend events, and participate in discussions, all from the comfort of our own homes.
Furthermore, social media has become a powerful tool for sharing information and spreading awareness. Whether it’s news, activism, or personal stories, social media allows us to reach a wide audience quickly and easily. This has been particularly evident in recent years with movements like #BlackLivesMatter and #MeToo, which have gained traction and sparked important conversations thanks to social media.
However, with the rise of social media also comes challenges and concerns. The spread of misinformation, cyberbullying, and invasion of privacy are just a few of the issues that have arisen as a result of our increasing reliance on social media. It is important for users to be mindful of what they share online and to use these platforms responsibly.
Despite these challenges, there is no denying the impact that social media has had on our society. It has transformed the way we communicate, connect, and share information with one another, and it shows no signs of slowing down. As we continue to navigate this ever-changing digital landscape, it is important to be aware of both the benefits and drawbacks of social media, and to use these platforms in a way that is positive and productive.
