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From African Earth

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"In my work I use ceramic vessels (izinkamba) as a premise to challenge, question, comment on certain aspects of rules and laws that serve as guidelines when creating ceramic vessel. I use them to comment on social and personal aspects of my life. My vessels are designed with a variety of angular, straight and geometric patterns that make reference to “amasumpa”".

“I also introduce other material on the surface of the vessel such as goat hide and I consciously create the imbalance when the vessel is seated and slightly skewing the vessel giving it a tilted appearance. In addition to this I break its functionality by closing its top which again challenges the notion of how traditional pots are viewed in terms of use and their function,” he explains.

“My vessels are inspired by traditional domestic vessels that were previously produced for functional purposes. However, I bring in a distinct voice, a design identity, that reflects my ideologies and my thoughts. This then transforms the vessel giving it a totally unique look that is contemporary and reflective of today’s culture,” he continues.

“In essence my work subverts and challenges the traditional canons of vessel making. I achieve this by playing around with essential elements of traditional domestic vessels, such as the form of the vessel, shape, size and the inconsistence of a design on the surface of the vessel. I am mostly interested in the design the shape and the form of the vessel which gives a voice to my work.”
Luthuli graduated in Fine Art at DUT in 2011. He is a regular participant in group exhibitions and showcases across the country, and had work in Earth Revelations: A Conversation in Clay in 2012 in New York. In 2013 he was awarded Highly Commended Certificate at the Ceramics Southern Africa, Regional Exhibition held at KZNSA in Durban; in 2012 he was given a Merit Award at the Ceramics Southern Africa, Regional Exhibition held at Art Space Durban and in 2010 he was a Premier Award winner at the Ceramics Southern Africa, National Exhibition held at The Gallery at Grande Provence. (Western Cape Region).

A series of workshops, walkabouts and events will accompany the exhibition.

The Durban Art Gallery (DAG) is open seven days a week: Monday until Saturday from 8.30am until 4pm, and Sunday from 11am until 4pm. Entry is free and all are welcome! For more info, contact the Gallery on 031 311 2264 / 9 or

Traditional Hand Built Vessels Workshop

Presented by Michelle Legg, this 4 day workshop will be held over 2 consecutive weekends - 30 & 31 June and 7 & 8 July.

This hand building workshop will be fully participative and Michelle will introduce participants to two of South Africa’s indigenous ceramic methods of construction, namely Zulu and Venda, and discuss the firing and decorating techniques. All materials required for the workshop will be provided. Both beginners and experienced artists are welcome.

Venue : The Pottery Studio, 24 Old Kilcullen Rd, Bryanston

Dates : 4 full days. Saturday 30 and Sunday 31 June and then the following weekend

Saturday 7 and Sunday 8 July.

Times : 10am till 4pm daily.

Cost for 4 day workshop inclusive of all materials and firing – R 1 850.

Coffee, tea and biscuits provided, please bring your own lunch.

To reserve your place on this exciting workshop please contact

Colleen on 073 481 0889 / em: colleen@potterystudio.co.za or

Michelle on 083 730 0250 / em: michellejanelegg@gmail.com

Traditional Smoke Firing

Smoke firing is an ancient traditional African technique. Pots are usually handmade using the coiling technique and the surface may be burnished prior to firing by rubbing with a suitable instrument of wood, steel or stone, to produce a polished finish that survives firing. It is possible to produce very highly polished wares when fine clays are used, or when the polishing is carried out on wares that have been partially dried and contain little water, though wares in this condition are extremely fragile and the risk of breakage is high.

An interesting method is used by Nic Sithole when his hand coiled pots are highly burnished and bisc fired in an electric kiln to 900 °C before the smoke firing. The pot is then covered with cardboard and newspaper, which is set alight. This second smoke firing takes about 20 - 30 minutes and the results are unpredictable and always very exciting. The pot is taken from the hot fire and polished immediately using ordinary floor polish. Once completely cooled, the pot is again polished until the surface is shiny. Only then can the artist see whether he has the results he was hoping to achieve.