How to Make Clay Pottery

RaKenda McGafee: As curator of the Perth Amboy Gallery of the Arts, Olga strives to spread the message about the healing power of art. She teaches a weekly art class for senior citizens where students are encouraged to express themselves. They in turn adore Olga and it’s usually a full house.

Francisco Olivera: My name is Francisco Olivera. Everybody calls me Paco. Olga is playing a very important part in the City of Perth Amboy because she is providing something that every community needs. Not only painting the figures but also our feelings.

RaKenda McGafee: Olga explains that there is something so relaxing about kneading the clay behind the potter’s wheel. I wanted to try it the minute I laid eyes on it.

Okay so right now, Olga is wetting my hands because my hands had to have a little moisture to it.

Olga Bautista: Yes. Even if you do it like this, it’s much better.

RaKenda McGaffee: So I need to have some good clay on my hand too. So then they give this beginner a more advanced lesson. I hope you’ve heard that, advanced.

First thing that I had to do I learned from the last time we talked is that I got to connect with my material, right?

Olga Bautista: Relax yourself is very important. Exactly. You’re going to have things and that piece is going to grow up. Now feel the material. Just keep in mind that you are using a machine. The machine makes the piece faster but you have to have more control and to be something.

RaKenda McGaffee: Now what am I doing once I start because there’s a pedal down here that I’ll push that will spin this as you see. What am I doing?

Olga Bautista: You’re working with the speed and you have to get used to the speed to grow up the piece.

RaKenda McGaffee: Yeah, like trying to figure out where if I want to go. I’m going to start a little bit slow if I can. Now, what am I doing with my hand.

Olga Bautista: You can put in more speed.

RaKenda McGaffee: Oh goodness! And what am I doing? Am I doing something? This feels funny.

Olga Bautista: You were talking about the spiritual feeling. When this centers, when you feel that the piece is not moving funny—it’s like drunk like moving this much is because it’s not centered.

RaKenda McGaffee: Although Olga made it look easy, it is no simple task centering that stubborn piece of clay.

Olga Bautista: That is the most difficult part, to center the piece.

RaKenda McGaffee: Just like that’s the most difficult part in life because it takes out a lot of time.

Olga Bautista: You see the honing of this piece. I make this piece in the mill. What you have to do is make that hard and we will do this with these two fingers. You are going to go all the way down.

Imagine that you are like this, you’re just going to do this. Good. You put three fingers in the bottom.

RaKenda McGaffee: I can see how—if you hadn’t helped me center this, it would be going off and out. And it was very interesting too when she was talking about it needed to be centered. I could clearly see it wasn’t because there was this slight wobble. But it would seem like if you’re talking about using the whole body, once you balance and center yourself, you can then center your pieces.

Olga Bautista: Exactly. This is your first piece.

RaKenda McGaffee: I know. I think it’s great for being my first piece. I think it’s great. I’m excited. I’m not disappointed at all.

There is an inherent gentleness in all of Olga’s work whether in a comforting round vase or the serene marble faces that she carved so skillfully. Olga’s touch is evident throughout this gallery.