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National Center for Khmer Ceramics Revival (NCKCR)

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The NCKCR is a non-profit and non-governmental organization aiming to rediscover and reintroduce Khmer ancestral pottery techniques and support the development of contemporary Khmer ceramic art. In the process, NCKCR creates economic opportunities, helping to decrease poverty in Cambodia.

Serge Rega established NCKCR in Siem Reap-Angkor, renowned for the Angkor temples. Tourists abound, creating substantial incomes, but paradoxically Siem Reap remains one of the poorer provinces of Cambodia. Siem Reap is emerging as a developed city, but geographically, poverty is displaced by about only 2 kilometers.

NCKCR is involved in Vocational training, which helps the poor rural population and will decrease poverty. Training is provided free of charge. Students are given an allowance to compensate for ‘lost’ time, which would otherwise be spent earning a living. Vocational training includes working with clay, but also technical skills, such as building a potter’s wheel, a kiln, tools etc. A student finishing a vocational training session with NCKCR must be able to establish his/her own studio. After training, students may be hired by NCKCR, or NCKCR may provide help to the young potter to install a studio.

Serge Rega says “rural workshops will help the poor and will allow women to express themselves, play a role in society and become participants in an economic activity”. The first rural workshop will be installed in August 2007 in Koh Ker (80 km north-east of Siem Reap) in collaboration with Heritage Watch NGO. A second rural workshop will be installed in May 2008 in Pouk Area, 30 km west of Siem Reap. Rural studios will provide economic assistance for poor peoples but will also play a role in the prevention of looting of Khmer Archaeological sites.

Research on Khmer Antique glazing and techniques – Antique Khmer ceramics are renowned, but the technology was lost during the recent terrible upheavals in Cambodia. NCKCR has sought to rediscover this technology, researching antique Khmer glazing, bisque, kilns, potters language etc. NCKCR wants to soon start the construction of an antique Khmer kiln (Dragon kiln). A first firing is scheduled for December 2007-January 2008. It will be the first time in 500 years such a kiln will be fired in Cambodia – a 10 day and night event. We will make this an international event, in order to facilitate exchange with potters from all around the world. For many years international potters have had exchanges with each other. Khmer potters rarely have the opportunity to travel outside of Cambodia to meet their peers, so this meeting will be held in Cambodia at the NCKCR. The kiln will allow us to fire our reconstituted antique Khmer glaze under the same conditions that it was made in Angkor. Such a kiln is a major tool in the research of antique Khmer techniques.
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American Museum of Ceramic Art presents

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American Museum of Ceramic Art presents
Ohr Rising: The Emergence of An American Master
Organized by the Ohr-O’Keefe Museum of Art, Biloxi, Mississippi
December 8, 2007 – February 23, 2008.
Opening Reception Saturday, December 8th, 6-9pm

Ohr Rising: The Emergence of An American Master is an exhibition of 40 key works by the art potter, George E. Ohr (1857-1918), of Biloxi, Mississippi. In terms of his aesthetic choices, George E. Ohr was a ceramic artist decades ahead of his time. Early on, having mastered the potter’s wheel for production of utilitarian ware and popular souvenir items, Ohr became dissatisfied with the limits of round pots and began to experiment by altering his wheel-thrown shapes. On occasion he used the centrifugal force of his potter’s wheel to cause the pot to twist or buckle. At other times he manipulated the form with his fingers, using folding, indenting or ruffling techniques to change the contour or rim of the piece.

An important turning point of Ohr’s career was the 1894 destruction of his studio in an all-consuming fire. After construction of his new studio, Ohr seemed to be more committed than ever to pursuing his novel approach to form. Thin walled, asymmetric shapes, often with elaborate, ribboned handles or ruffled edges became his trademark. The unconventional work was not understood nor well received. Critics denounced Ohr’s work as bizarre or ugly, and with negligible sales his “art” remained virtually unrecognized during his lifetime.

George E. Ohr’s life story holds as many fascinating twists and turns as does his pottery. His persona was the epitome of today’s phrase, “inventing oneself.” Ohr’s flamboyant physical appearance, his massive mustache, his wild eyes, his outrageous claims of infamy, and crazy billboard signs earned him the title, “The Mad Potter of Biloxi.” Today George Ohr pieces are highly valued for their inventiveness and prized as precursors of the 1950′s abstract expressionist attitude toward clay.

The word “Rising,” in the exhibition title refers to the “rise from destruction” theme taken on by Mississippi’s Gulf Coast in its valiant recovery effort from Hurricane Katrina, 2005. The Ohr-O’Keefe Museum of Art, which suffered major damage during the storm, is likened to Ohr’s Biloxi studio which was destroyed by fire in 1894. Interestingly, the museum which bears his name has adopted “Ohr Rising” as its mantra for rebuilding, which will begin about the time this exhibit opens.

Currated by Anna Stanfield Harris, a few of the works in the Ohr Rising exhibit are owned by private collectors in Mississippi, but most are from the Ohr-O’Keefe Museum’s permanent collection. Underwriting for the exhibit is provided by grants from the Gulf Coast Community Foundation and the National Endowment for the Arts.