KATHMANDU, Nov 25: Mark Nafziger, a celebrated American potter, never envisioned a life shaped by clay. Originally a mathematics student, he stumbled into the art world through chance encounters and personal connections—one of which was meeting his wife, Joyce, an art student and now a fellow potter—ultimately earning degrees in both disciplines. What began as an exploration of creativity alongside his studies transformed into four decades of mastering the craft together.
As part of the U.S. Arts Envoy Program, Mark and Joyce Nafziger brought their expertise to Nepal, leading a five-day pottery and ceramics workshop at Bhaktapur Pottery Square from November 18 to 22. The initiative, hosted by the U.S. Embassy, Kathmandu, brought together ten female artists from Bhaktapur to refine their skills, blend traditional pottery methods with modern techniques and explore new opportunities for creative growth. Reflecting on his journey, Mark Nafziger shared, “I felt like an accidental potter—it all started with opportunities I never anticipated.”
Mark described the workshop as a mutually enriching experience. “The participants were wonderful,” he said. “They embraced the techniques I demonstrated, adding their unique flair to the pieces they created. It was a beautiful exchange of ideas and creativity.” Joyce echoed this sentiment, marveling at the passion and dedication shown by the local artists.
Mark emphasized the universality of clay as a medium, calling it a ‘perfect bridge across cultures’. He explained how many of his decorating techniques, developed over decades, had roots in ancient traditions from the Middle East. “To bring these techniques back to this region, where so much of pottery's history originates, felt like completing a circle,” he shared. He acknowledged the innovative ways he incorporated modern tools such as plastic bottles into age-old practices, but humbly credited his expertise to persistence and years of experience.
Mark’s pottery spoke to more than just utility. It was an expression of his craftsmanship and a reflection of the balance between functionality and artistic expression.
Pottery, as Mark saw it, was inherently functional, a simple mug or bowl, every piece serves a purpose in everyday life. But when infused with personal intent and creativity, it transcended this basic functionality, becoming something deeper. “A mug is functional, but when you add personal intent and design, it can transcend mere functionality,” Mark said, “It becomes something more than just a mug—it becomes a reflection of the maker.”
Yet, Mark humbly regarded himself as a craftsman rather than an artist. While some may have labeled his work as art, he insisted his goal was simple: to create functional pottery that resonated with people. “Art is often seen in a traditional sense,” he said, “But for me, the real value came in making something people could use and enjoy, even if it wasn’t always seen as ‘art’ in the conventional sense.”
This blend of practicality and creativity was something Mark, alongside his wife Joyce, worked hard to cultivate with the women artists from Bhaktapur. Through their workshops, they strived to encourage each participant to explore their creative energy without feeling confined by any particular style. “I didn’t want to impose my style on them,” Mark shared, “Instead, I hoped they could incorporate the techniques I showed them in a way that felt authentic to their own cultural context.” Pottery, he believes, is deeply personal—each artist, in time, would find their own unique expression through the medium.
For Mark, the most gratifying moment came when he opened the kiln and revealed the finished pieces. "It was like a moment of rebirth," he said, “each piece was like a new beginning.” The transformation of raw clay into a vibrant, functional object never lost its magic for him. The beauty of pottery, Mark believed, was that it transcended language and geography. “Pottery has this magical ability to bring people together," he said. "No matter where you are from, you could find a common language in clay."
And so, as the kiln doors opened once more, Mark is reminded that each piece is not just an object; but a part of a larger story—one that continues to unfold, piece by piece, across cultures, across time, and across the world.