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Studio Potter & Ceramic Artist

David Schlapobersky

A life shaped by earth, guided by care

In the Quiet Rhythm of Clay

Clay found his hands,
and through them a life of quiet devotion.
Felicity joined the journey,
their paths entwined in purpose and creation,
their studio a place where fire, patience and form
spoke to all who entered.


They shaped not only vessels,
but also connections,
weaving art into the fabric of community.
In Swellendam the kilns glowed,
their doors always open,
their work a conversation between earth and people.


`Every pot carried more than function,
each form a reflection of care.
Together they showed that clay is a language,
and life itself can be lived as a vessel,

holding beauty, meaning and belonging.

Beginnings in Clay

In the gentle hush of Cresset House near Johannesburg, in the early 1970s, a spark of clay transformed into a calling. There, guided by Gordon Wales, David Schlapobersky first felt the rhythm of the wheel, earth spinning into form, offering solace and purpose. Together with Felicity Potter, whom he met in 1972, he discovered that love, art, and compassion could merge in the same hands. From the very beginning, their shared values of humanity, social responsibility, and creative communion wove through every act of making.

David, a second-generation South African whose grandparents emigrated from Lithuania at the turn of the 20th century, carries in his being a legacy of resilience and tenacity. Felicity, born of German and British roots, brought design sensibility and a painter’s touch to their joint journey. Their home was always their studio, their studio a home, united by the presence of James, Felicity’s son, whose tender care shaped the rhythm of their lives and creative work.

Building a Life in Clay

In the late 1970's, the hum of Johannesburg mingled with kiln fires and clay dust. David built his first gas kiln, and the city’s galleries — Pretoria’s Ernst de Jong, Johannesburg’s Helen de Leeuw, Sanderling, Quadri — opened the doors to their stoneware. Each exhibition became a calling card, a whisper that the ageless art of pottery, even in a rapidly modernising world, still spoke of ancient truths.

But their hearts were meant for more. Alexandra, a township pulsating with both pain and artistic promise, became their classroom. Here, community met creativity. The Alexandra Art Centre rose from collaboration and dedication, as did Art for Alexandra, a stirring exhibition at Sotheby’s Johannesburg, led by icons such as Archbishop Desmond Tutu and Nadine Gordimer. Amid the turbulence of the 1980's, art became a bridge across broken generations.


In 1996, they followed a quieter call to a heritage home in Swellendam called Bukkenburg. They poured new life into its old walls, welded past hopes into the present, and kindled their own 40-cube-foot oil-fired kiln. Their Open Studio Weekends, beginning in 1997, became a pilgrimage: pottery, stories, and hospitality spinning a web of lifelong friendships under the South African sky. They planted their roots deep in the community. Through Swellendam Alive! (1999–2003), they infused local tourism with arts, culture, and meaningful opportunity: reopening cafés and galleries, training young craftsman, and championing a vision for Swellendam not as a stopover, but as a destination.

A Lasting Legacy

David and Felicity’s work — a language of high-fired, reduction-fired stoneware and porcelain — spoke in the nuances of ash, glaze, and form. Their pottery, shaped by hand and heart, found homes in private collections, corporate settings, wine estates, and boutique hotels. In 2009, their amphorae graced Hamilton Russell Vineyards, cradling wine in clay as ancient as time itself.

They shared their craft widely. National Ceramics, South African Country Life, and Pottery Making Illustrated each featured their methods, their unique approaches to their art, their reverence for the creative process. A film, David Schlapobersky Throws Big Pots at Bukkenburg, captured the physical poetry of his work at the wheel.


A testament to faith and form, their partnership endured. For more than 53 years, they built more than pots — they built a life

shaped by clay, each other and a sense of place.


In early 2025, Felicity passed away. Yet at Bukkenburg, her presence remains, woven into the very fabric of the clay, garden, hearth, and studio. David continues now, completing commissions, filling the gallery anew, and rolling clay with love’s steady hand, honouring their shared legacy in every firing.

The Quiet Gift of a Day at Bukkenburg

The plates created for Restaurant Mosaic were not simply conceived as tableware. They were designed as companions for a specially created dish close to our hearts, Francolin Forest Fungi, an ode to the wonders of nature from our previous home at the Southern point of Africa. To bring them to life, Chef Chantel shared her vision of the forest-inspired dish with David and Felicity, and together they worked to shape a vessel that would hold both botanical creations from the kitchen and their story.


In 2018, during a visit to their studio where the rhythm of clay and wheel has been part of their lives for more than fifty years a vision was shared and a precious heirloom was born. In David’s hands, each plate began as a humble ball of clay, centred on the wheel and guided with patience and respect for form. Once shaped, they were left to dry slowly, their edges refined to balance strength with grace. Every gesture was intentional, for David understands that a diner’s first impression of a dish begins not with the food itself but with the vessel that presents it.


Bisque firing gave permanence to their fragile beginnings, while glazes in subtle, earthy tones were chosen to echo the natural character of the forest dish. In the final reduction firing, flame and ash worked their quiet alchemy, ensuring that no two plates would ever be the same. When these plates arrived at Mosaic, they carried more than utility. They embodied a creative dialogue between chef and ceramicists, the quiet presence of their makers, the landscape of Africa’s soil and essence, and a spirit of collaboration that allows chef, guest and craft to converse together in unspoken reverence at the table.


Also part of our collection is a selection of crafted amphora pots, vessels of timeless form and elegance that speak of both function and history. These are exceptional pieces, for the making of such large clay pots requires rare strength, precision, and mastery — each one coaxed into being through hours of labour at the wheel and the constant risk of collapse before firing. Today, several of these amphora are displayed in the gardens of Château des Tesnières in Brittany, France, commanding yet graceful a presence that unite earth, craft, and landscape in living harmony.

THE PROCESS



A COLLECTION OF LARGER VESSELS ON DISPLAY IN CHÂTEAU DES TESNIÈRES AND THE GARDENS

Biography:


2025:

  • On 2 March, Felicity Potter passed away in Swellendam, leaving behind a profound legacy of craft, teaching, and collaboration.
  • Tributes described her presence as remaining “woven into clay, garden, hearth, and studio.”
  • David continues the work at Bukkenburg, honouring their shared vision through ongoing firings, commissions, and exhibitions.
  • Several of their amphora and other large pots now stand in the gardens of Château des Tesnières in Brittany, France, as lasting examples of their artistry.


2024:

  • Bukkenburg marked more than five decades of continuous work in Swellendam, celebrating their legacy of high-temperature reduction-fired stoneware.
  • The studio continued welcoming visitors, offering workshops, commissions, and gallery sales.


2023:

  • Their work gained visibility at auction: Strauss & Co, Cape Town, sold a Large Blue and White Vase by David and Felicity.
  • Continued commissions and gallery exhibitions in Swellendam.


2022:

  • With help from Saskia van Leeuwen, David completed a significant glaze firing in the oil kiln, re-establishing rhythm in the studio.
  • New pots from this firing were displayed in the gallery and gardens.


2020–2021:

  • COVID-19 lockdowns temporarily disrupted workshops and open studio weekends.
  • Despite challenges, firings continued in the large oil kiln, and new works were added to the Bukkenburg gallery.
  • The studio’s online presence (website and social media) became increasingly important for reaching collectors and friends.


2016–2019:

  • Continued studio production, commissions, and open weekends at Bukkenburg.
  • Regular glaze firings and exhibitions of new work in their gallery and gardens.
  • International orders shipped abroad, keeping Bukkenburg connected with collectors worldwide.


2015:

  • Featured on The Potters Cast podcast, Episode 82: “For the Love of James” (with Paul Blais).
  • Cover article in Ceramics SA, Summer issue: “Bukkenburg – Zen and Now and Felicity Potter at 80” by Joy Savage.
  • Ongoing open weekends, commissions, and international orders.


2014:

  • Exhibition “Old Friends” at Oude Libertas Gallery, Stellenbosch, alongside a retrospective of architect and artist Hannes Meiring (Oct–Nov).
  • Ceramics SA Group Exhibition, Cape Town: Anglo Oriental, Connecting Past to Present (Nov).
  • Ceramics SA National Exhibition, Cape Town (Nov).


2013:

  • Published in National Ceramics No 103: “Salute to a Partnership – The Synergy of Bukkenburg,” edited by Sue Whybrow.
  • Exhibition at Anteros Arts Centre, Norwich, UK (Aug).
  • YouTube film released: David Schlapobersky Throws Big Pots at Bukkenburg (filmed and edited by Maria le Roux).
  • Commissions and orders shipped abroad, including to the USA, UK, Europe, and Australia.
  • Open studio weekends and workshops in Swellendam.


2012:

  • Articles in National Ceramics No 99, “Wine Jar Journey,” and in the 100th edition, “Red-hot roots” by Ronnie Watt, featuring their amphorae work.
  • Continued workshops, commissions, and international orders.


2011:

  • Exhibition at Gallery at RCHCC, Great Park Synagogue, Johannesburg (June).
  • Workshop presenters and guest exhibitors at the Ceramics SA Clay Festival in Johannesburg (June).


2009:

  • Commissioned by Hamilton Russell Vineyards to make large amphorae for maturing their wine Ashbourne Sandstone 2009.
  • Feature article in National Ceramics No 87: “Bukkenburg Pottery, Gail de Klerk visits David and Felicity in Swellendam.”
  • Feature article in Pottery Making Illustrated (US): “Throwing Big Pots” (May/June).
  • Studio’s Facebook page launched.
  • Featured in SA Country Life (Sept): “Swellendam’s Potters.”
  • Published Facebook memorial pages for Tim Morris, Hyme Rabinowitz, and Esias Bosch (pioneers of high-fired studio pottery in South Africa).
  • Ongoing open weekends, commissions, and workshops.


2006–2008:

  • Regular studio production, commissions, and orders.
  • Workshops and open studio weekends in Swellendam.


2005:

  • Cover story in National Ceramics No 71 (Autumn/March).
  • Exhibitions in Swellendam and Parkwood, Johannesburg.


2004:

  • Launched pottery.co.za, their own studio website.
  • Feature article in SA Country Life (Nov): “Not Just Pottering Around.”
  • Group exhibition at William Humphreys Art Gallery, Kimberley.
  • Group exhibition in Swellendam.
  • Exhibition in Parkwood, Johannesburg.


2002:

  • Joined Cape Overberg Meander.
  • Group exhibition at William Humphreys Art Gallery, Kimberley.


2001:

  • Exhibitions at Dorp Street Gallery, Stellenbosch, and in Melville, Johannesburg.
  • Began construction of a large 100 cu. ft. oil-fired (kerosene) kiln.


1999–2000:

  • Exhibitions: Decorex Cape at Spier, Stellenbosch; exhibition in Westcliff, Johannesburg.
  • Co-founded Swellendam Alive, a major initiative for local tourism, skills training, and community development.
  • Projects included:
  • Reuse of Drostdy Museum space for the Old Gaol Coffee Shop, Bloukop Gallery, and Morgenzon Craft Shop.
  • Reactivation of Swellendam Cultural Festival.
  • Skills training programmes and craft workshops at Morgenzon House (1751).
  • Partnership with Swellendam Municipality and Western Cape government.
  • Awards and recognition for community impact.
  • Felicity instrumental in Morgenzon House textile screen printing studio development.
  • Resigned from Swellendam Alive in 2003 to refocus on pottery.


1997:

  • Renovated Bukkenburg into a working pottery studio and showroom.
  • First glaze firing in the 40 cu. ft. oil-fired kiln.
  • First pots “Made in Swellendam.”
  • Opened to the public.
  • First Open Studio Weekend in Nov 1997, a tradition still ongoing.


1996:

  • Moved permanently to Swellendam on 1 Oct.
  • Feature in SA Garden & Home (Nov): “A Potter’s Lunch.”
  • Group exhibition at Morgenzon House, Swellendam (Nov).


1995:

  • Craft Council exhibition at Museum Africa, Johannesburg.
  • Exhibited at Decorex Johannesburg (Aug).
  • Invited to the first APSA Prestige Exhibition at Schweikert Gallery, Pretoria (Nov).


1994:

  • Purchased Bukkenburg in Swellendam.
  • Began teaching evening pottery classes in Johannesburg to support the bond.


1993:

  • Guest exhibitors and workshop presenters for APSA.
  • Group exhibition in London with the Craft Council of South Africa.
  • Included in CraftArt – Focus on Clay, edited by Doreen Hemp.
  • Exhibitions in Kimberley and Klerksdorp.
  • Continued orders and commissions.


1992:

  • Appeared in Peter Marshall’s book and TV series Around Africa.
  • Assisted with Johannesburg arrangements and interviews.
  • Continued orders and commissions.


1991:

  • Featured in National Ceramics Quarterly No 18 (Dec).
  • Included in Contemporary Ceramics in Southern Africa by Wilma Cruise and Doreen Hemp.
  • Continued participation in the Johannesburg Studio Route.


1989:

  • Guest exhibitors and workshop presenters for APSA.
  • Founding participants of the Johannesburg Studio Route.
  • Felicity design consultancy for First National Bank (with Ruth Wolff).
  • Felicity textiles for Design Story, London.


1988:

  • Exhibition at The Mall Gallery, London (with Coral Stephens textiles).
  • Contribution to South African Potters Manual (“Making a Tea Set”).
  • Felicity design consultancy for General Mining Union Corporation HQ, Johannesburg.


1980s:

  • Feature article in Living magazine (1980).
  • Active in township development and arts activism.
  • Founding role in the Alexandra Art Centre.
  • Organised Art for Alexandra exhibition at Sotheby’s Johannesburg.
  • Patrons included Archbishop Desmond Tutu, Nadine Gordimer, Beyers Naudé, and others.
  • Involved in numerous activist networks and cultural initiatives throughout the decade.


1979 onwards:

  • First solo exhibition: Ernst de Jong Studio Gallery, Pretoria.
  • Exhibited widely across South Africa, including Johannesburg, Pretoria, Kimberley, Stellenbosch, George, Durban, Cape Town, and more.
  • Media features, radio/TV appearances, commissions, and architectural collaborations.
  • Guest exhibitors and workshop presenters for APSA.
  • Influenced by designer Ruth Wolff.


1977:

  • Moved into own home and studio in Parkview, Johannesburg.
  • Built first large gas kiln (town gas).
  • Ongoing orders and commissions.


1976:

  • Moved to Johannesburg, rented house, and began first home studio.
  • First group exhibition at Helen de Leeuw Gallery, Hyde Park.


1973:

  • Developed pottery studio at Cresset House for training and therapy.
  • Established vegetable garden, bakery, and dairy.
  • Joined APSA.
  • Influenced by Tim Morris and Anglo-Oriental studio potters (Bernard Leach, Michael Cardew, Joe Finch, David Frith, Robin Hopper, John Glick, and others).
  • Organised major fundraising exhibition for pottery studio equipment.
  • Organised Camphill student exhibition at Sandton City.


1972:

  • Moved to Cresset House, Halfway House, Johannesburg (Camphill School and Training Centre for children in need of special care).
  • Became house parents to 12 young people, taught art, and assisted in classrooms.
  • Invited to establish a pottery workshop, first experience on the potter’s wheel with Gordon Wales.
  • Met Felicity Potter, beginning their lifelong partnership.

Exhibitions:



  • The Potters Gallery
  • Helen de Leeuw Gallery
  • Ernst de Jong Studio Gallery
  • South African Association of Arts Gallery
  • Akis Gallery
  • Everard Read Gallery
  • Sanderling Gallery
  • Quadri
  • Binnehuis
  • Leephy Studios
  • Art Gallery 88, Sasolburg
  • The Carriagehouse Gallery
  • Lookout Art Gallery
  • The Laura Collection
  • Schweikert’s Gallery
  • Gallery S
  • The Mall Gallery, London – with Coral Stephens Handweaving
  • Sotheby’s
  • Craft Council of South Africa – Group Exhibition in London
  • Museum Africa
  • William Humphreys Art Gallery
  • Gallery 5
  • Die Blou Galery
  • Dorp Street Gallery
  • Strydom Gallery
  • The Gallery at the Rabbi Cyril Harris Community Centre
  • Rust en Vrede Gallery
  • The Gallery at Grande Provence
  • Oude Libertas Gallery
  • Gallery at Anteros Arts Foundation, Norwich, UK