Shelly-Ann Thompson, Freelance Writer
David Pinto with his piece 'Bullet Proof'. - PHOTO BY CARLINGTON WILMOT/FREELANCE PHOTOGRAPHER
THE METAL staircase leads directly to the cool interior of David Pinto's studio at Good Hope Plantation in Falmouth, Trelawny. A large selection of pottery items fills the space.
Teacups, candleholders, tumblers, plates and soap trays are neatly arranged on shelves along the studio's walls. This is the only place where visitors can see David Pinto's three distinct bodies of work art, functional pottery and commercial production.
Pinto, now 40, was born in Kingston, Jamaica told Flair that the need to create from clay was born 27 years ago while he was a student at Campion College in Kingston.
The beginning was not auspicious. "I remember after school making the same clumsy pots that all the other beginners made, but I was seduced by the material and process (and) worked at refining my skills," said Pinto.
Years later, Pinto's meddling in the earthen material has taken him as far afield as Japan and the United States. And his clumsy childhood experiments have become distinctive wood-fired kiln vessels that have captured the imagination of many individuals including American business tycoon Donald Trump, and both local and foreign business entities that have bought pieces for their collections.
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One-of-a-kind sculpture and vessels made by Pinto can be seen at Harmony Hall Gallery in Ocho Rios, St. Ann and Grosvenor Gallery in Manor Park, St. Andrew. Quirky functional pottery is at The National Gallery in Kingston and at Heaven 67, a new store set to open this week at Doctor's Cave Beach Club in Montego Bay, St. James.
The commercially produced range of items including wall sconces and basins can be seen at Lavange Limited in Kingston. The potter's amenity trays and soap dishes adorn rooms at the Ritz~Carlton Hotel in Rose Hall, St. James and Round Hill Hotel that borders St. James and Hanover.
Pinto also creates a special line of aromatherapy diffusers and incense holders for Starfish Oils.
His work is part of the permanent collection of the National Gallery of Jamaica as well as many private collections locally and abroad. Viewers of NBC television show Apprentice may have seen a three-legged sculpture, about 30 inches high, as part of the office decor, in a recent episode.
To perfect his skills, Pinto sought further education from diverse sources, some structured others informal.
After A'Levels he took a year off before university partially exploring pottery techniques. He later attended Rhode Island School of Design in the United States, majoring in Industrial Design but was drawn to the ceramic studio, " by the love of the material and the immense potential it has."
After graduation, he went to New York for practical training in industrial design. "I became desperate to again handle clay and directly create the final product so I eventually found a pottery studio, at 92 Street Y, and convinced them to take me on as an assistant. Life went well but destiny would have its way taking Pinto back to his land of birth.
Fifteen years ago a group of investors including the Hart Family bought Good Hope in Trelawny, they were interested in developing crafts on the property and Pinto was offered the resident artist position.
He didn't want to leave the success and fulfilment he was having in New York. "But when my work visa expired two years later I was ready for a life change. I put my life in boxes," ready for home.
Pinto travelled home, but not before going to Japan on an extended working visit.
The experience he gained in Japan is still fresh, inspirational and extraordinary. Japan's culture is very much revered by potters, as this is where ancient pottery techniques are still done to perfect the art. "It was invigorating to be a part of a respected ancient tradition rather than simply a skilled manual labourer making functional objects whose need has being replaced by machine production.
"To walk on streets made of pottery shards and retaining walls of old pottery soy urns while exploring kiln sites thousands of years old gave me a deeper respect and understanding of my chosen journey," said Pinto.
In Japan he worked with a different potters and artists before returning to Jamaica.
For more than 10 years Pinto, along with Doug Casebeer, programme director at the Anderson Ranch Art Centre near Aspen, Colorado has been hosting an intensive eight-day international workshop at Good Hope in April and November. Pinto holds local classes on Tuesday mornings and occasional weekend sessions for advanced or intermediate students or beginners.
Now settled in Good Hope, Pinto stated that he has the best machines to work with. He has designed and built a gas reduction kiln, a soda kiln fired with oil, and a wood kiln based on the ancient anagamma kilns of ancient Japan. He also has two electric kilns which are used for biscuit firing and low-temperature production. "The range of materials and firing processes are vast and these differences can be very significant," he explained. Wood and soda in particular offer very unusual, rich, luscious surfaces unachievable using other firing techniques.
More From David Pinto
What determines the cost of ceramic artwork?
Like anything else, pottery can be good or bad, cheap or expensive. There are still beautiful pottery vessels in Nepal and India that are so cheap that they are used like we use paper or plastic and disposed of after the contents are consumed. In Japan there are small, unassuming tea ceremony vessels that carry thousand dollar price tags. I have small cups for $400 that are only a bit more expensive than a generically, machine produced mug out of china, but these come with a personality and a human touch that links the user to the maker and enhances the entire ritual of food.
The process, time and most importantly, the pleasure available from the finished product clearly demand, and I feel deserve, a premium price. .
Where inspiration comes from:
"Ephemeral is a word I have always liked from reading the children's book. I may wake with a dream image, see an engaging rock formation or other natural phenomenon, or sometimes there is a light-bulb moment. Ideas are easy; its hard work and effort to successfully carry an image or idea through to a successfully finished creation. This creating and editing process is most important. During this journey the fullness of any idea is realised and is where I feel the most significant, though often incremental inspiration, happens."
The title I give myself:
I'm a "Farmer" while tending my lumber trees, "Designer" when creating a product or considering its production for a commercial client, "Potter" when making pots, "Artist" , "Sculptor" or any combination depending on which of my skills are actively engaged and the intent of what I'm doing. Some people need titles. I am happy to be called by name because my title would have to change so often as the focus of my work changes.
