As part of our Fresh Talent programme, five artists were chosen to undertake a residency from a group of 25 that were part of our Fresh exhibition at the 2023 Biennial. Chi Onwordi was selected to take part in a residency at the Bolesławiec Cultural Center – International Ceramics Center as part of the 60th International Ceramic and Sculpture Symposium in Poland. She will present her new work at our 2025 Biennial.
We asked Chi some questions about her experience during her Fresh Talent residency and the impact on her artistic practice.
About Chi Onwordi
Guided by a belief in the power of balance Chi takes inspiration from organic and manmade landscapes and textures. She focuses on repurposing scrap and waste materials through different making processes.
Chi captures the subtle traces of processes on the surface of each object. Pour lines capture the fluidity of slip-casting processes and oxides reveal marks made in clay surfaces. In the final assembly of the objects, she discovers connections and finds harmony between manmade and organic forms.
Briefly talk about your practice
As a ceramic artist, my practice centres around material exploration. I explore themes of cultural identity and the interaction between the natural and the manmade. Influenced by my Scottish-Nigerian heritage and upbringing in London, my work reflects on how environments shape our sense of place, memory, and belonging. Clay is my primary medium, allowing me to engage with texture, form, and surface as tools for storytelling and connection.
What were your expectations before starting your residency?
Before beginning the Fresh Talent Artist Residency at the 60th International Ceramic and Sculpture Symposium in Bolesławiec, I was incredibly grateful and excited to be selected. It marked my first solo trip abroad, and being in my second trimester of pregnancy, I felt a mixture of anticipation and nervousness.
What has been the impact on your practice and what surprised you the most?
My first impression of Bolesławiec after traveling through the city of Wrocław and taking a scenic countryside train was that it seemed quiet and rural. However, I was quickly and pleasantly surprised by how modernised, spacious, and accessible the town was. With free local transport, walkable streets, and a welcoming atmosphere, it was easy to settle in. The people were warm and friendly, and despite a slight language barrier, I felt a strong sense of hospitality.
The residency offered deep insight into the region’s ceramic traditions. Touring various factories revealed unique production techniques that I naturally compared to those used in the Staffordshire Potteries, where I studied. Each factory had its own signature styles, respected and recognised throughout the town much like the tradition-rich potteries of Stoke-on-Trent, such as Spode or Wedgwood. The museum tours reinforced the pride Bolesławiec holds in both its wartime and ceramic history. The museum where I was based historically linked to a Polish general who fought against Napoleon.
Was there any significant collaboration with another artist or organisation?
My studio was based at the Centrum Dawnych Technik Garncarskich (Centre for Ancient Pottery Techniques). It is a beautifully updated facility that included dedicated spaces for staff, resident artists, and public workshops. A hub of tradition and education, offering sessions in wheel throwing and pottery decoration for locals and visitors alike. Their emphasis on the importance of passing on these skills once taught in dedicated schools echoed the heritage-focused efforts of places like Middleport Pottery back in Stoke.
What are you most excited to take forward in your practice?
This residency allowed me to experience firsthand how ceramics can anchor a community through shared history and craft. It enriched my understanding of cultural expression through clay and deepened my appreciation of how local traditions continue to thrive and evolve in a global context.