Body Vessel Clay: Black Women, Ceramics & Contemporary Art

Body Vessel Clay: Black Women, Ceramics & Contemporary Art brings together three generations of groundbreaking Black women artists whose work with clay explores the medium’s multilayered cultural and political significance. Featuring over fifty works across ceramics, film, photography, and archives, the exhibition draws connections between the legacy of renowned Nigerian potter Ladi Dosei Kwali (1925-1984) and contemporary artistic practice. Through these lines of influence and innovation, the show traces how Black women artists have transformed the field of ceramics over the past seventy years—disrupting conventions, challenging hierarchies, and expanding the possibilities of clay as a medium.

Following critical acclaim at Two Temple Place in London and York Art Gallery in 2022, this landmark exhibition makes its U.S. debut on the centenary of Kwali’s birth, honoring her powerful work’s deep and broad influence over time and place. Curated by Dr. Jareh Das, this iteration of the exhibition features new works and includes three U.S.-based artists: Adebunmi Gbadebo, Simone Leigh, and Anina Major. It challenges dominant narratives in ceramics history by celebrating matrilineal, Indigenous African pottery techniques and clay’s enduring presence as both an artistic and functional form of expression. Dr. Das’s revelatory curation will immerse visitors in a contemplative space for reflecting on the layered histories of ceramics and the radical potentials of form, gesture, and the material memory of clay. The transformative qualities of the featured works become amplified in conversation with each other across generations, redefining and pushing the boundaries of ceramics. 

The artists in Body Vessel Clay share a deep fascination with testing the medium’s properties to create new, personal, political, collective, and visionary aesthetics across geographies and temporalities. By tracing lines of continuity between past and present, Body Vessel Clay repositions clay not as peripheral but as central to global art histories and as a vessel for memory, defiance, and transformation.

The exhibition features work by artists including Halima Audu, Phoebe Collings-James, Jade de Montserrat, Chinasa Vivian Ezugha, Adebunmi Gbadebo, Ladi Kwali, Simone Leigh, Anina Major, Bisila Noha, Magdalene Odundo, and Julia Phillips. It also includes a rich selection of Abuja Pottery ceramics (Michael Cardew, Asibi Ido, and George Sempagala), and archival material—correspondence, press clippings, and photographic documentation—related to the Pottery Training Centre in Abuja, drawn from the collections of Doig Simmonds, the Crafts Study Centre, and the W.A. Ismay Archive at York Museums Trust. Exquisite, research-led exhibition design by Ayo Design and graphic design by NMutiti Studio invite readers into a dynamic, contemplative journey across the show’s layered themes and interconnections. 

Body Vessel Clay is realized with loans from Brooklyn Museum; Cooper Hewitt, Smithsonian Design Museum; the Crafts Council Collection (U.K.); the Crafts Study Centre and University for the Creative Arts at Farnham (U.K.); The Newark Museum of Art; York Museums Trust (U.K.); and private lenders.

Image: William Alfred Ismay (W. A. Ismay). Photograph of Ladi Kwali at a pottery demonstration in England. 1970s. York Museums Trust. The W. A. Ismay Bequest, 2001. Photo: W. A. Ismay, © York Museums Trust.

About the Curator

Dr. Jareh Das is an independent curator working between the UK and West Africa. Her work explores the intersections of modern and contemporary art, as well as performance. Das holds a PhD in Curating Art and Science: New Methods and Sites of Production from Royal Holloway, University of London, where her research explored live art practices within the context of visual arts. Her curatorial and writing practices privilege embodied knowledge and move fluidly across exhibitions, performance, and critical texts. Between 2020 and 2024, she developed and led curatorial research projects with institutions across Europe and West Africa, including Camden Art Centre, Deptford X Festival, and Galerie Atiss Dakar. Her writing spans exhibition catalogues, academic journals, magazines, and artist monographs, engaging closely with the practices of living and overlooked artists, as well as experimental forms of criticism. Das is currently working on her first book on Black women ceramicists and artists who work with clay.