Yesterday we spent the morning with a master potter named Lucho, learning to craft hand-built clay pots. As with our basket-weaving escapades, we realized that you can´t learn a craft in one morning when people devote their lives to perfecting the art. But we had a good time getting our hands dirty, and learned a lot more from Lucho than we´d expected.
We arrived at 9 a.m., wearing dirty clothes and ready to make some pots. Lucho met us in his workshop, which is an open-air structure with a roof under which he completes every step of the production process, from washing dirty mountain clay to selling finished works of art.
Before we even looked at raw clay, we admired Lucho´s finished pots, gleaming in rows on shelves in the shop, where they retail for a couple hundred dollars. They came in all different colors and shapes, although most were smaller than a basketball, as he caters to tourists passing through on their way to Macchu Picchu. They were all beautiful.
It was an intimidating way to start, but Lucho quickly put us at ease, handing us hunks of gooey, wet clay to play with. He explained that he dislikes throwing pottery on a wheel: he thinks hand-building is simpler to teach and more authentic in the Peruvian pottery tradition.
It wasn´t exactly simple. Kelsey´s pot almost fell over a few times, and Lucho had to do some major ¨surgery,¨as he called it. But with his help, we created fairly decent-looking vases that we plan to return to later in the week to finish.
When we made baskets with Pancho, he spoke very little English, so we spent a lot of time laughing at ourselves and our pathetic baskets. But learning ceramics from Lucho was very different. He speaks English almost as well as we do, and he spent several hours talking to us about every aspect of his craft, as well as his own relationship with ceramics over the years.
Probably in his fifties or sixties, he was born in Peru and taught himself the basics of ceramics at age ten. He moved to the United States in the 1980´s, where he lived briefly in San Francisco and for many years in Santa Fe. There he learned from Native American traditions still in use on reservations. He produced pottery for museums and private ownership, before returning to Peru shortly after 9/11.
He was determined that we learn more than just how to coil a pot, and learn we did.
He got out a pen and paper to diagram the chemistry of clay, which he learned while studying at Berkeley for a short while. He talked about the impact of tourism on his trade and the degree to which Ollantaytambo has changed in recent years. He talked about the difficulty of making a living in the United States as an artist. He explained that by using local, cheap products, he can create his works of art for almost no cost and make a decent profit. He showed us an original Inca pot and explained that the Incas were more focused on stone than clay, as evidenced by their relatively rudimentary pottery. He explained the difference between earthenware and porcelain. He described the evolution of pottery throughout world history, and regional differences in technique.
In short, it was an education in the art, history, and science of ceramics as much as a lesson in the technical process of creating a pot. Which is just as a lesson from a good teacher should be.