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Magdalene Odundo
Magdalene Odundo
Magdalene Odundo
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Dame Magdalene Anyango Namakhiya Odundo DBE (born 1950) is a Kenyan-born British studio potter, who now lives in Farnham, Surrey, England.[1] Her work is in the collections of notable museums including the Art Institute of Chicago, The British Museum, The Metropolitan Museum of Art, and the National Museum of African Art.[2][3][4][5]

Key Information

She has been Chancellor of the University for the Creative Arts since 2018.[6]

Early life and education

[edit]

Magdalene Odundo was born in 1950 in Nairobi, Kenya, and received her early education in both India and Kenya. She attended the Kabete National Polytechnic in Kenya to study Graphics and Commercial Art and later moved to England in 1971 to follow her chosen vocation in Graphic Design. After training in Farnham, Surrey,[1] she completed her qualifications in foundation art and graphics at the Cambridge School of Art,[7] where she began to specialise in ceramics.[8]

After a while in England she discovered pottery, and in 1974–75 she visited Nigeria, visiting the Pottery Training Centre in Abuja, and Kenya to study traditional hand-built pottery techniques.[9] She also travelled to San Ildefonso Pueblo, New Mexico, to observe the making of black-burnished vessels. In 1976, Odundo received a BA degree from West Surrey College of Art & Design (now University for the Creative Arts).[10] She then earned a master's degree at the Royal College of Art in London. She taught at the Commonwealth Institute in London from 1976 to 1979 and at the Royal College of Art in London from 1979 to 1982, before returning to teach at Surrey Institute of Art & Design (now University for the Creative Arts) in 1997, becoming Professor of Ceramics in 2001.[10]

In March 2016, she was inaugurated as an Emerita Professor of the University for the Creative Arts, with a celebration event held at the Farnham campus against the backdrop of her important work in glass, Transition II.[11] She lives and works in Surrey.

Career

[edit]
Vase, 1990, Brooklyn Museum

Odundo's best-known ceramics are hand built, using a coiling technique. Each piece is burnished, covered with slip, and then burnished again. The pieces are fired in an oxidizing atmosphere, which turns them a red-orange. A second firing in an oxygen-poor (reducing) atmosphere causes the clay to turn black; this is known as reduction-firing.[12] She uses the same types of techniques used by the Ancient Greeks and Romans and likes to take inspiration from countries such as China and Mexico.[13] Her graphic design skills still remain with her as she often sketches her interest in natural forms and the design of form to help her with her ceramic creations.[14] Many of the vessels Odundo creates are reminiscent of the human form, often following the curves of the spine, stomach, or hair.[12] Furthermore, the shape of expression of her vessels are symbolic of the female body; one of her most famous pieces is a black and ocher vessel with a curved base and elongated neck resembling the form of a pregnant woman. Her work is now a part of permanent collections of nearly 50 international museums including:

Burnished jar with asymmetrical mouth and neck (ridge beneath bend of neck). Black metallic finish, the result of burnishing and reduction firing.
Burnished Jar by Magdalene Odundo. From the W. A. Ismay Collection at York Art Gallery

In 2006, her work was presented in an exhibition titled Resonance and Inspiration at the Samuel P. Harn Museum of Art of the University of Florida. This was her first solo exhibition in the US since 1997 and her first solo appearance in Florida. This exhibit was also the first time her drawings and sketches were presented alongside her vessels.[17] Her free-form drawing style replicates the same shape and form as her vessels, serving as a glimpse into how Odundo perceives her three-dimensional works in two dimensions.

In 2019, there was a major exhibition that centred on a group of more than 50 of her works, alongside other works of art that Odundo saw as relating to or influencing her work; the exhibition was titled The Journey of Things.[18] The show was displayed in two locations: The Hepworth Wakefield, West Yorkshire and then the Sainsbury Centre for Visual Arts, East Anglia.[18]

Recognition and honours

[edit]

Odundo has been recognized as a significant player in contemporary ceramics, making her name a large contributor to African Art in the US during the 1990s. As observed by curator Augustus Casely-Hayford, "[She draws] on something of the wisdom and experience of the Leach, or a line borrowed from ancient European antiquity, to create a trans-global, trans-temporal visual system of her own; modern, yet simultaneously old, African yet resolutely European..."[5]

She was appointed Officer of the Order of the British Empire (OBE) for services to art in the 2008 Birthday Honours[19][20]

Odundo also received the African Art Recognition Award by Detroit Institute of Arts in 2008, and in 2012 the African Heritage Outstanding Achievement in the Arts award, as well as subsequent honorary doctorates from the University of Florida (2014) and University of the Arts London (2016).[21]

In 2017, it was announced that Odundo would take up the role of Chancellor of the University for the Creative Arts from June 2018.[22]

She was appointed Dame Commander of the Order of the British Empire (DBE) in the 2020 New Year Honours for services to art and arts education.[23][24][25][26]

In 2022, she was awarded an Honorary Doctorate of Arts by Anglia Ruskin University.[27]

Footnotes

[edit]

References

[edit]
[edit]
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Magdalene Odundo

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from Grokipedia
Dame Magdalene Anyango Namakhiya Odundo DBE (born 1950) is a Kenyan-born British ceramic artist based in , , renowned for her hand-built, burnished vessels that blend ancient global ceramic traditions with contemporary forms evoking the , particularly the figure. Her works, often coil-constructed and fired to achieve shimmering red or black surfaces, draw inspiration from sub-Saharan African pottery techniques, vases, Japanese Jōmon ceramics, and Pueblo blackware, while exploring themes of cultural migration, , and postcolonial identity. Born in , , Odundo initially trained as a at Kenyan institutions before moving to the in 1971 at age 21 to pursue further studies. She completed a Foundation Course in at Cambridge School of Art (1971–1972), apprenticed with women potters in (1974), studied low-fire techniques in (1975) and (c. 1976), earned a BA Honours from West Surrey College of Art and Design (1973–1976), and obtained an MA from the Royal College of Art in (1979–1982). This period marked her transition from to ceramics, influenced by encounters with diverse traditions at museums like the Fitzwilliam and the Museum of Archaeology and Anthropology in . Odundo's career as a studio potter gained prominence in the , with her distinctive vessels—characterized by smooth, ergonomic shapes and tactile surfaces—entering major collections such as the , , and the . She served as of Ceramics at the from 2000 to 2014, becoming Emerita and in 2018, where she has mentored generations of artists while continuing her practice rooted in traditional and burnishing methods. Her oeuvre reflects a between her Kenyan heritage and British context, often exhibited internationally to highlight ceramics' cross-cultural resonance. Odundo has received numerous accolades, including the Officer of the (OBE) in 2008 for services to the arts and elevation to Commander (DBE) in the . Notable exhibitions include a at the (2017), The Journey of Things (2019), and A Dialogue with Objects at the Gardiner Museum (2023–2024), with a major publication of the same title released in 2024, as well as a solo exhibition of new and glass works at Xavier Hufkens gallery in (2025–2026). Her contributions extend to judging international awards, such as the 2024 South African Clay Awards, underscoring her enduring influence in contemporary ceramics.

Early life and education

Early life

Magdalene Odundo was born in 1950 in , , into a family where her father worked as a and her mother had studied economics. She was one of several siblings, including a younger sister. The family spent part of her childhood in , , due to her father's profession, before returning to , where she grew up primarily in and amid the colonial environment. By the age of 10, Odundo endured profound loss when her mother, father, and younger sister all died, leaving her and her siblings to live with relatives in . She received her early education in both and , shaped by the inequalities of colonial schooling that emphasized for African students and dismissed indigenous art as "primitive." In secondary school in , taught by nuns, a teacher recognized her talent and introduced her to art galleries in , fostering her initial interest in visual expression despite limited opportunities for women in fine arts. At age 21, in 1971, Odundo moved to to pursue studies in , transitioning from 's post-independence context to a new cultural landscape; during her time in the UK, she later shifted toward ceramics. This relocation marked a pivotal moment, influenced by her multicultural upbringing and the constraints on artistic training available to her in .

Education

Odundo began her formal artistic training in at the Kabete National Polytechnic, where she studied Graphics and , earning a in the field. This early focus on laid the groundwork for her , emphasizing layout, composition, and commercial applications, before she relocated to in 1971. Upon arrival, she enrolled in a foundation course in Art and Graphics at the Cambridge School of Art (now part of ), completing it from 1971 to 1972, which broadened her exposure to diverse artistic practices and sparked her interest in fine arts beyond commercial work. She followed this with a B.Tech in and Layout Design at the same institution from 1972 to 1973, further honing her skills in and design. Transitioning toward ceramics, Odundo pursued a BA Honours in Ceramics, , and Photography at in from 1973 to 1976, graduating with first-class honours. It was during this period that she first experimented with clay, initially as part of her studies, where she explored and hand-building techniques inspired by visits to local museums like the in . In 1974, midway through her BA, she traveled to for an apprenticeship at the Abuja Pottery Training Centre, immersing herself in traditional African pottery methods, followed by a return to to study hand-built vernacular ceramics, and then to to study low-fire and burnishing techniques with potters at San Ildefonso, exposures that decisively shifted her practice toward pottery as a medium for cultural narrative. Odundo solidified her expertise with an MA in Ceramics at the Royal College of Art in from 1979 to 1982. Under the guidance of prominent faculty in the ceramics department, she refined her vessel forms, drawing on global pottery traditions encountered during her travels—from ancient African and Native American () techniques to British studio —while developing her signature burnished, unglazed surfaces. This advanced training marked the culmination of her evolution from graphics to ceramics, establishing a practice rooted in cross-cultural influences and technical innovation.

Professional career

Early career

After completing her studies in the , Magdalene Odundo transitioned from her early career as a in to ceramics, having worked as a trainee commercial layout artist at S. H. Benson Advertising Agency in from 1968 to 1971. She began incorporating clay into her practice during this shift, influenced by her training at West Surrey College of Art and Design from 1973 to 1976. From 1976 to 1979, Odundo held a post at the Commonwealth Institute in , where she instructed on graphics and introduced ceramics workshops to students of all levels, overlapping with the start of her postgraduate studies. She then served as a in ceramics at the from 1979 to 1982, while completing her MA there, during which she mentored emerging students and honed her distinctive hand-building methods. In the early 1980s, following her MA, Odundo established her independent studio practice in Farnham, Surrey, where she had been based since 1973, and began creating her initial series of burnished earthenware vessels fired to achieve rich, lustrous surfaces. Her breakthrough came with her first major solo exhibition, the MA degree show at the Royal College of Art in 1982, which introduced her sculptural forms to the public. Early pieces from this period also appeared in group exhibitions, including Modern British Ceramics at the Queensbury Hunt Exhibition in London in 1985.

Teaching and academic roles

In 2001, she joined the (UCA) in as Professor of Ceramics, where she taught and led programs until 2016, after which she transitioned to Professor Emerita status while remaining research active. During her tenure, Odundo shaped the by integrating global perspectives on ceramics, drawing from African, European, and ancient traditions to broaden students' understanding of the field's cultural depth. Odundo was appointed Chancellor of UCA in June 2018, succeeding Dame Zandra Rhodes, and in this leadership role she has overseen the university's strategic direction while championing creative arts education and diversity within the institution. As a mentor, Odundo has guided numerous aspiring artists, with a particular focus on encouraging practitioners from to embrace ceramics as a professional path, influencing a generation through her emphasis on and technical mastery. Beyond her primary appointments, Odundo has conducted guest lectures and workshops internationally since 1983, including at U.S. institutions like and the National Council on Education for the Ceramic Arts (NCECA) in 2012, as well as universities in , promoting dialogues on practices and materials. In February 2025, Odundo was appointed the first President of the Watts Gallery Trust.

Artistic practice

Techniques and materials

Magdalene Odundo hand-builds her vessels using a technique with terracotta clay sourced from , deliberately avoiding the to preserve organic, fluid forms that emerge from the clay's natural properties. She selects clays for their purity and authenticity, often blending English red clay from regions like and , testing them to ensure compatibility and structural integrity during the labor-intensive process. This hand-coiling method, refined over decades, allows her to work intuitively, emphasizing the tactile memory of the body in shaping the clay without mechanical aids. The burnishing process is central to Odundo's practice, applied in multiple stages to achieve a polished, non-glazed surface that highlights the clay's inherent texture and sheen. Once the coiled form reaches a leather-hard state, she burnishes it using stones, polishing tools, gourds, and , followed by the application of a fine clay slip or , and then re-burnishing for added luster. This meticulous work, performed over weeks, seals the surface and enhances its tactile quality, eschewing any added decoration in favor of the subtle variations created by the burnishing itself. Odundo fires her vessels in a wood-fired under reduction conditions to produce the characteristic black or red hues, drawing on ancient methods adapted to contemporary control. The initial oxidation firing yields bright red-orange tones, while subsequent reduction firings—achieved by limiting oxygen with wood and organic materials—carbonize the surface for smoky blacks and iridescent effects, often requiring multiple sessions over days. She produces her works exclusively in series, completing approximately five to ten vessels every two years, with each piece taking three to six months from to final firing, as she labors alone on several forms simultaneously to maintain continuity in exploration. This deliberate pace underscores her commitment to process as an integral part of the artwork's embodiment of touch and cultural resonance.

Influences and themes

Magdalene Odundo's ceramic work draws extensively from traditional African pottery traditions, including Kenyan ceremonial vessels and West African forms encountered during her studies in , where she apprenticed with potters like and learned coiling and hand-building techniques. She integrates these with ancient global ceramics from diverse cultures, such as Cycladic figurines from , Japanese and Peruvian pottery, and New Mexican blackware, fostering a synthesis of vernacular practices across continents. This cross-cultural foundation reflects her research into historical ceramics worldwide, emphasizing shared human expressions in clay. Central themes in Odundo's oeuvre revolve around the female body, , and natural forms, with her vessels anthropomorphically suggesting necks, shoulders, bellies, and hourglass silhouettes that evoke life's cycles and vitality. These organic shapes serve as metaphors for containment, memory, and the containment of spirits from both the present and the , prioritizing abstract harmony over utilitarian function. While influenced by 20th-century modernists such as , , and —particularly their approaches to form and British studio pottery—Odundo's aesthetics remain firmly rooted in non-Western traditions, avoiding overt narrative or figurative elements. Her multicultural heritage, shaped by a Kenyan upbringing and , alongside travels to and in the 1970s and 1980s, informs a hybrid identity that bridges experiences with global dialogues. Odundo philosophizes ceramics as a tactile, universal medium that unites craft and , capturing the "spirit of the void" through simple, elusive vessels that astonish through their presence.

Works and exhibitions

Major works

Magdalene Odundo's Untitled series from the 1980s onward features elongated, burnished black forms that evoke torsos through their asymmetrical, anthropomorphic profiles. A notable example is Untitled (1985), a burnished and oxidized terracotta vessel measuring 34 cm in height, which exemplifies her early exploration of vessel forms as sculptural entities. These works are held in prominent collections, including the Victoria and Albert Museum's Symmetrical Ribbed Pot (1983), a handbuilt terracotta piece highlighting her precise and burnishing techniques. In the , Odundo shifted toward larger red-fired vessels symbolizing earthly connections, achieved through oxidation processes that yield vibrant terracotta hues. The Symmetrical Terracotta Piece (1990), incised with her signature and measuring 35 cm in height, represents this phase with its balanced, flared form. Her Untitled (1997), crafted from red clay and fired to produce subtle gray-black striations, entered the Metropolitan Museum of Art's collection in 1998, underscoring the vessels' dual role as functional and abstract sculptures. Odundo's mid-career vessels from the introduced taller, more abstracted shapes that emphasize precarious balance and verticality, often drawing on global histories. Pieces from this period, including burnished terracotta forms exploring proportion and poise, were featured in her 2019 at , with the gallery acquiring related works such as Asymmetric Vessel (2021) to expand its holdings of her oeuvre. Her recent works in the include monumental vessels with experimental firings that introduce subtle color variations, moving beyond monochromatic blacks and reds to layered tones. The series presented at Xavier Hufkens in 2025, comprising untitled vessels from 2013–2024, showcases these evolutions in scale and surface, treating the forms as autonomous sculptures that dialogue with space. Over 50 museums worldwide hold Odundo's vessels as standalone sculptures, affirming their status beyond utilitarian ; notable examples include the Art Institute of Chicago's Charcoal-Burnished Vessel (1983) and the Gardiner Museum's carbonized terracotta vessel (2005, acquired 2006).

Key exhibitions

Odundo's early exhibitions marked the beginning of her recognition in the British ceramics scene. Her first solo presentations included shows at Rosenthal Studio Haus in and in 1982, 1983, and 1984. In 1987, she held a solo exhibition at the Anne Berthoud Gallery in , alongside a touring group show titled New Works that visited venues such as the Glynn Vivian Art Gallery in and the Ruthin Craft Centre in . These early displays showcased her emerging focus on handbuilt, burnished vessels influenced by global traditions. Mid-career milestones expanded her international profile. In 2006, the solo exhibition Resonance and Inspiration: New Works by Magdalene Odundo debuted at the Samuel P. Harn Museum of Art at the in Gainesville, featuring recent vessels and drawings that explored technical and conceptual influences from her travels; it later toured to the Hood Museum of Art at in 2007–2008. By 2012, her work appeared in the group exhibition The Global Africa Project at the in , highlighting contemporary African artistic contributions. A solo show at The Gallery in 1992 further solidified her presence in the UK ceramics market. A pivotal career retrospective, The Journey of Things, opened at in February 2019, presenting over 50 vessels alongside global artifacts selected by Odundo to trace her artistic evolution over 45 years. The exhibition toured to the Sainsbury Centre for Visual Arts at the later that year, where architect designed immersive display spaces, and a parallel presentation of select works ran at the in in 2021. Recent exhibitions underscore Odundo's continued prominence. Her largest North American show to date, the solo A Dialogue with Objects, was held at the Gardiner Museum in Toronto from October 2023 to April 2024, juxtaposing over 20 of her vessels with contextual artifacts from other collections. In October 2024, she presented a series of new sculptural clay vessels in her first London solo exhibition in over two decades at Thomas Dane Gallery. Odundo participated in the 60th Venice Biennale in 2022, contributing to the main exhibition The Milk of Dreams at the Arsenale. Her debut solo at Xavier Hufkens in Brussels is scheduled for November 2025 to January 2026, featuring recent ceramics and a monumental bronze. Throughout her career, Odundo has maintained a robust international presence, with participation in numerous group shows since the , including Africa Explores: 20th Century (1991–1994, touring internationally) and Body Vessel Clay: Black Women, Ceramics & at the Gallery in New York (2025). Her works have appeared in at least 44 documented exhibitions worldwide, reflecting sustained demand and curatorial interest.

Recognition and honors

Awards and distinctions

In 2008, Magdalene Odundo was appointed Officer of the (OBE) in the Queen's for her services to . That same year, she received the African Art Recognition Award from the ' Friends of African and , recognizing her contributions to contemporary ceramics inspired by African traditions. In 2012, Odundo was honored with the 40 Years Anniversary Award from African Heritage in , , for her outstanding achievements in the arts. She continued to receive acclaim in 2019 with the Lifetime Achievement Award at the International Ceramics Festival in , , celebrating her lifelong impact on the field of ceramics. Odundo's honors culminated in 2020 when she was appointed Commander of the (DBE) in the Queen's for services to and arts education. In 2023, she received the Lifetime Achievement Medal at the London Design Festival for her significant and fundamental contributions to the design industry.

Academic and institutional honors

Magdalene Odundo has received several honorary doctorates in recognition of her contributions to ceramics and art education. In 2014, she was awarded an Honorary by the . In 2016, she received an Honorary Doctorate from the . This was followed by an Honorary Doctorate from the Royal College of Art in 2021. Most recently, in 2022, conferred upon her an Honorary . Odundo's institutional roles reflect her influence in higher education. She was appointed Professor Emerita at the in 2014, building on her prior teaching positions there. In 2016, she served as a Montgomery Fellow at , engaging in scholarly and artistic dialogues. Since 2018, Odundo has held the position of at the , overseeing strategic direction for the institution. In 2025, she was appointed the first President of Watts Gallery Trust.

References

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