The art of ceramics, one of the ancient arts in the world, goes back thousands of years. Working in clay has always been influenced by external cultures on the one hand, and by a tight connection with the local society on the other hand. The connection to the place, time and society in which the pots were created was manifested in design, use and technology used by the artists and the ceremonies of which the pots were a major part.

Working with clay has always drawn fire, meaning of course not only the burning fire of the pots, but the interest of everyone around. Unlike other crafts, a significant part of ceramics, certainly the ancient one, was done outside the studio/workshop. The potter had to dig the clay, dry it outside in order to mold it, dry the finished pots/sculptures and of course burn them at high temperatures, either in stacks or in closed kilns.

In Um el Fahem ceramic work thrived; pots were created and used by the villagers and neighboring villagers. Workshops operated in the area and the potter families passed the secrets of the trade from father to son. As mentioned above, most of the work was done outdoors and was an integral part of the daily life of the community. During the occupation of the area in 1948, the potter families fled the village as well as surrounding villages and the tradition disappeared. At the same time Jewish artists who emigrated from Europe, set up ceramics factories which were quite successful during the 60's and 70's. Their motto was to spread the Israeli culture in Israel and in Jewish communities in the Diaspora. Thus, the art of ceramics was important to the communities living in Israel.

The Symposium, participating artists.

The core of the symposium was centered on the arrival of three Azeri artists:

Azerbaijan, like Israel, is on the border between East and West and between external influences (Soviet occupation in Azerbaijan with all its artistic aspects and the many occupations in Israel) and local traditions (Jewish and Islamic).

The contact with the Azeri artists was established through the artist Karen Koblitz, Head of the Department of Ceramics in the Roski School of Fine Arts at the University of Southern California. Koblitz traveled twice to Azerbaijan and worked with local artists. This cooperation resulted in exhibitions in the USA and in American embassies around the world. Koblitz came to the symposium and in her unique way collaborateed with the local artists. In addition to her, Nermin Kura, a culture researcher and Associate Professor of Islamic art and Architecture at Roger Williams University in Rhode Island, attended. Born and bred in Turkey, she has lived in Jordan in the 60's where her father was the Turkish ambassador, absorbed the experience and studied the relevant cultural aspects regarding the topic of the symposium.

This year's symposium evolved around the encounter between the participating artists. The carefully chosen artists brought to this encounter an emotional, historical and material load. They all come from different countries, nationalities and religions. The core of the symposium was about the joint work and the discussions day and night that ensued.

During the symposium there were lectures, as well as tours in the city and joint work in the gallery. It was documented by a stills photographer and a video. The participating artists worked together for five days during which they lodged and dined together. This unique view of the Umm el Fahem Art gallery is based on the Arab tradition of hospitality. It has proven in Art events in the past that art works created in physical proximity and personal interaction become significant in the personal creation of each artist in the future.

Following the symposium, at the opening of the Art events in Israel in September 2010, an exhibition will be held, showcasing the pieces made during the encounter between the artists in May. A catalogue will accompany the exhibition.

The Ceramic Symposium, which took place in May, 2010 and the exhibition, which will follow it (“Michael Jackson with dots”- temporary name) will focus on the special link between ceramics and its creators on the one hand and the place where it is made on the other hand. Contemporary Ceramics in Israel encompasses the roots of the local tradition (with all the influences of the various conquests, such as the Arab, the Byzantine and the Turkish) and the influences of Western Culture. These seemingly paradoxical influences are predominant in particular in this kind of creative art.

Like the preceding symposia, which take place annually, this symposium created once again a wonderful opportunity for bonding between the local community and the various activities in and outside the Art Gallery. Likewise, the symposium strengthened the linkage with the roots and the handicraft, which has become extinct or is threatened to disappear.

Roy Ma'ayan, June 2010
In the photo above: Works of ceramic artist Neila Sultanova from Azarbaijan