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| 1961- my name is Eliz Olivella, the first born of hard working Puerto Rican and Cuban parents unconsciously shaped by provocative self defining times within Afro -American and Native - American communities. The subsequent 19 years were grown into defiantly. As any first generation American would tell: learning, always curious, learning so as not to fall behind, learning to be free. 1981- the beginning of the clay story: I sat in a philosophy auditorium watching Chinese master Ka kwan Hui form sculptures from pots thrown on 5 different wheels in complete silence. I felt myself the only one in the audience—absorbing each deliberate and intent movement. Again unknowingly this marked the beginning of my intuitive and universal communication through clay. That year I studied life in Europe, which fortunately lead me to Buno Spain. I assisted the Lorca family in their traditional production of majolica ware. Volunteering, using my feet to wedge mounds of clay, it reflected of rebellion, delight and control, . . . my own. 1982- upon returning to the United States, with determination I sought out Ka kwon Hui as my teacher; to what became a solid and whole encompassing foundation in clay. 1983- completed my BA from Rutgers University, majoring in art history and commercial graphic design. 1984- I continued my education with Hui until my skills were refined enough to venture on my own with my first studio, translating my abstract energetic experience into a visual discipline. 1985- an earth shaking trip to Mexico and Cuba awakened my interest in Mexican pre-Hispanic forms, afro-Caribbean forms, their religious significance with my personal sense of purpose. Which further complimented my on going studies and interest in Columbian, Greek, Chinese, East Indian, Middle Eastern, Egyptian, Polynesian, English, American Indian pottery. 1987- Feeling fearless and inspired, I left my high earning job with American Color, a magazine production house for the pleasure of my second studio “Fine Clay Works”. As well and encountering romance and marrying into a lovely family. The following 2 years were dedicated to meditation, gardening, sculpture and pottery making, part-time free lancing in design, and taking advantage of every workshop in clay that crossed my path, with artists, Elsbeth Woody, Bruno Lachasie, Mikail Zakin. 1989- Ready, I and my work were enthusiastically received and promoted commercially. This new me was a professional artist—a fortune I have enjoyed to the present. 1990- A desire to live consciously led me to leave the familiar comfort of the metropolis (New York and New Jersey) for an adventure in Alaska. Seldovia offered me the indigenous village experience I craved, off the road system. Where after 2 years of exploring I started up my next studio and shop “Living Dreams Studio”. These new works that slipped from my fingers were influenced by the surrounding bodies of water, sea life, mountains, ice, local clay and inhabitants (learning native dance and songs and dialect), absorbed me. Thankfully, being isolated forced me to develop art- making as my connection with spirit, the successful business was a by- product. 1994- My insatiable interest in native American pottery took me New Mexico for the opportunity to work with Sal and Flo Yepi of Jemez. I made slip painted pinch pots under spiritual direction. Clearly, it was no longer enough to make the forms and marks-- I needed to share the process through teaching. 1995- With community support, I co-founded “Community Studios”, being director and instructor allowed me to do what I did instinctually with fresh students as easily as breathing.. I grew and learned immeasurably. 1996- Adventuring some more, I studied the relationship between form and function with John Leach. Directing my approach to clay by function first, led me to a new aesthetic that defined my work. 1997- Undergoing profound growth, death and rebirth through divorce—I made a change to Oaxaca, Mexico. I thank the Taller Rufino Tamayo for challenging me to teach in Spanish. And facilitating the ground of exchange between myself and local indigenous artisans and artists. I’ve worked with the Reyes family of San Bartolo Coyotepec, learned the manipulation of the pre-Hispanic wheel, and the origin of it’s black pots. Worked with the Gonzalez family of Tavehvua, of the high sierra norte, making little animals held by my heart, burnishing cooking pots that I love cooking in. Continually working with the women of San Marcos Tlapazola, Concepcion Sanchez, Aurora, Reina, making comales, whistles and traditional Zapotec ware. I’ve had the pleasure of working with the potters of Atzompa and their famous green glazed ware. Not to forget the very special family of Vicente Hernandez and Jorge Pablo—traditional production potters from the wheel, of Oaxaca city. 2000- The year of transformations and explorations of the heart. After 3 months of serious illness, my new self awakened I went to Cortes Island, Canada, just north of Vancouver to garden by the sea; transforming the flowering colors to my glaze palette on figurative sculpture. Along with deep spiritual work I consumed 4 months of solid studio time. Took a fabulous raku workshop with Regnor Reinholdts, my favorite kindred potter of the flow. After which I gave a studio workshop on pottery and tile making at the Cortes Community Studio. September 23, 2000 I married with Jorge Pablo, traditional potter, artist, and clay muralist of Oaxaca. Viscerally culminating toward the artist in residency and collective exhibition in Mojmiroce, Slovakia. Which unfolded in tender beauty, feeling the eagerness of Slovakian artists to meet and exchange ideas. Returning, home to Oaxaca, I began teaching traditional and new raku techniques at the Sachmo Centro de Arte and in my shared studio in the foot hills of the San Felipe mountains with artist Isabel Vasquez. 2001- Jorge Pablo and I inaugurated our studio in the center of Oaxaca City, “Tierra Prima”. 2002- Jorge and I moved our studio to the mountainous region of Benito Juarez, just north east of Oaxaca, where we currently live and work. Benito Juarez is 10,000 feet above sea level, quiet and fresh and 100% Zapotec (except for me). Where my new inspiration is the sky. 2003- Jorge and I realized that Oaxaca does not offer a continious space for contemporary ceramics and with the help of 3 other contemporary potters ( Vicente Hernandez, Isabel Vasquez, and Omar Hernandez) we opened the gallery Tierra Quemada in the historical district of Oaxaca. Which has become our main source of representation in the artist community here and abroad. 2004- Jorge and I have our first child, Chay-ek. The greatest love of all! A life being challenged to live consciously; I’ve had many jobs, I’ve benefited from a deluge of shows, I am an enthusiastic volunteer and believe in community support. I enjoy working with youth and adults, as much as I welcome the introspection of solitude. I am patient, but not passive. With excited abandon I search the knowing of clay, the mystical, . . . our human story. Aligning myself with the natural world, spiritually surround of water, mountains, earth, refilling the well that flows from my soul to my heart. This makes me happy and fills me with energy and love. There is much more I would like to experiment in Mexico and abroad and with this thought I welcome all possibilities. |
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