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Ceramics? Chinaware, Bathroom fittings, floor tiles and things like that are popularly identified as ceramic objects. These are also goods which come to market through mass production conveyers. They are supposed to have smooth and glittering surfaces, the norm that satisfies the popular taste. Out of these objects, flower vases usually have a very specific shape; bottle-shaped ware characterized by relatively fat base and a thin neck.

Basic aesthetic concepts and shapes behind these ceramic objects were imported to Sri Lanka in the British period from England and other parts of Europe, and of course not everybody had the slightest idea that Europe obtained them from China and other parts of Asia.

Our potters in modern times, did not have the privilege to visit ceramic design/ or production houses in Europe to have a glimpse of what was going on, regarding the tradition and modernity, art and technology.

Nevertheless they ( mostly the officers serving at cultural department and similar State establishments) from time to time received the chance to visit Japan , China and Korea and meet artists and craftsmen there.

Unfortunately these expectantly refreshing encounters seemed to have not given much inspiration, knowledge and insight to change the rigid and narrow concepts established in the colonial times among both the craftsmen and the public about ceramic objects. I am sure that these visiting 'specialists' must have technically encountered the rich diversity of artistic paths developed in these countries in relation to the idea of ceramicware. It seems that they saw only what they wanted to see as art and artistic.

And what they saw was already conditioned by their deeply colonized minds. For example, looking for shapes for flower vases they could not see beyond the shapes of Japanese Sake bottles or Chinese and Korean vine and liquor bottles. They came back and insisted that our potters should continue with flower vases with fat bases and thin necks.

This is the ceramic flower vase which enjoys the privileged position in Sri Lankan households. Yes, a 'good' flower vase is not something you meet daily. It sits in a cabinet or some other secure place and comes out only at very auspices occasion like when you have very special/highly positioned guest at home.

I feel sorry for the vases sitting passively in closed dark spaces, not being able to come out and share the life with living people. I would love to see a vase that carries bunch of fresh flowers at a window sill or some other place illumined with the bright living sun, a vase keeping a live intimate dialogue with people among their work and rest, laughter and tears.

My vases also represent a fusion of clay and fire. Yes, but a little bit of fire from my heart also has gone to make them. That is why I can make the claim that my vases are also poems made of clay and fire.

Date & Time : 7th June to 16th 2003

Place : VAFA Gallery, Sarvodaya Centre - Ethulkotte

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