KUCHING: The pottery industry was once a thriving industry in Sarawak, where handmade pottery items with unique designs were often sought by the tourists and the locals – as a souvenir or decorative item at home.
However, the industry suffered a decline in the late 90s, with the introduction and availability of various machines and systems for mass production, including using moulds and hydraulic presses.
Apart from that, there was a lack of interest among the younger generation to learn and master the pottery-making skills as it was labour-intensive and time-consuming.
“Instead of spending too much time and attention on a single item, people (businesses) prefer a faster process – to produce it, sell it and make money,” said Tuson Chong, the founder of Gardencraft Co.
The 37-year-old landscape architect had decided to become a fulltime pottery tutor three years ago; conducting interactive classes and workshops in Kuching, with a vision towards reviving the dying art of pottery in Sarawak.
“I followed my aunty to a pottery class in Singapore when I was 17 and since then, I have been learning and improving my skills and techniques in pottery making.”
“It started as a hobby before I decided to venture into this new business in art and craft in 2019,” he told New Sarawak Tribune recently.
‘Naked: Raw Clay of Sarawak’
The ‘Naked: Raw Clay of Sarawak’ organised by Gardencraft Co. is currently held at the Steamship Building, Kuching Waterfront, from March 6 to 20.
Chong described the first-of-its-kind exhibition as a celebration and appreciation of the beauty of pottery in Sarawak.
The exhibition is subdivided into three categories – Prehistoric, Heritage, Contemporary, showcasing endless possibilities on how the humble clay can be transformed into works of art, everyday utilitarian wares and objects of virtue.
The prehistoric section exhibits replicas from the Niah while the heritage section showcases work of traditional Sarawak pottery; with Nabillah Abdullah representing Iban pottery and Goh Ah Soon representing Chinese pottery.
Meanwhile, the contemporary section displays a range of modern ceramic forms, from Gerald Goh, Nabilah Abdullah, Nia Latif, Ong Shu Yi and Chong himself.
Chong said the Niah-inspired art installation takes on ceramic forms that mimic millennia old stalactites. The trickling sound of water droplets, the lush jungle forest greenery, combined with the prehistoric pottery appreciation which were found around the area.
“The idea that nature always provides, and each of us have an innate need to reconnect with nature has definitely become the recurring theme during the creation period for this project.”
“We aim to raise awareness about the pottery industry in Sarawak and to develop a greater sense of appreciation and recognition of the art through the exhibition,” he added.
Apart from that, Chong also hoped the government would continue to give more support and preserve the heritage of pottery-making in Sarawak.
The ‘Naked: Raw Clay of Sarawak’ is supported by Cultural Economy Development Agency (CENDANA), Economic Recovery Plan (Penjana) and MyCreative Ventures.
