I work In a studio skaelskoer



Journey 2

I need to feel and capture the life in front of my eyes, or in another word I have the desire to grasp every thing that penetrates me through my eye and my skin.

In every moment an idea is identified and each idea is able to cross towards art and it is manipulated within a visual and constructive pattern in order to become self existent among the relationship between the thing's form and the form's thing.

There is always a relationship between expressions in the destruction and the destruction itself.

Destruction is well known for me; it means the sensual experience and the vitality that takes me towards various trends. From this point a concept is presented about how to use the concept in expressing the idea,  reducing in order to execute the idea, building materials for the idea, and   multiplying in order to enter the idea's system.

All these are observing the rhythm which exists in the moment. That’s why my art work does not develop through mentally prepared plan but it grows through spontaneous momentum decisions which are resembled in making a huge number of art pieces that are fully completed during a long period of developments and maturity thus allowing changes to happen naturally and spontaneously.

That was what I have realized through the thinking process during my journey which included my project that I have described and took place in a workshop with a group of international artists whose work using various and special modern ceramic techniques during a month  of artist residency program.

So the journey has begun ………………….

At the very beginning the first shot has stopped, I started to talk about the form of visual image because the visual image has to jump through the space to reach the eye……… and also the vision has to jump into the opposite direction  therefore a question was raised …………………………



I was in Doha when I thought and imagined how to formulate the visual shape (imagination) then formulate it to reality (paper).

So words have been written, lines were composed and the shape was formed; after that I have accomplished the technique on the surfaces and processed it in a different sense very much appropriate to the new concept of contemporary ceramic art.

I believe that the principle of ceramic independence from its creators could be considered one of the most significant characteristics of contemporary ceramic……………..for this particular reason I have laid the feeling ……………….

The first shot……….

While I am in the middle of plain empty land (desert)………

Glamour imagination is playing between oneself and the subject and is contributing to the intellectual process

(It's its nature to become abstracted). It jumps and formulates on the separated space between the viewer and the work according to its desires…..…..

The second shot…………..

Anxiety, observationsß----à rhythmical presence of building above old and new mountains where the scene has been converted into a visible shape, smooth and rough surfaces and destruction remains wondering around me, I started with  a lineß---à processing ß---à harmony

ß----à resonance………………… because I view the form standing firm in the space with some colour……….( that’s why I hear the silence and see the emptiness).

The third shot……………… 

Descending -------àin a square inside a rectangular where its beautiful green geometric shapes were crossed by sharp lines…………… this scene did not last very long since for me the new situation is what I think and what I feel on the spot, so I have left behind me chants letter that have been chanted during the moment of formulation carrying the awareness of destiny………… I want for this form a speech where I can use it to address the universality of contemporary ceramic while grapping its impossible chant.

Therefore I find bitter beauty does not wait to be explained.

I walked in the present form-------à present is the actual presence of things inside themselves, for this I left finger touches and the storage memory so my desires were to explore unconsciousness by sanctuary frivolity…

I do not conceal the speech till I declare my freedom and fall in the journey…….. inside a perpetual sound.

Signs of ……….. celebrations

The consciousness ………….

The time …….. the intimacy of existence ……..

All are declaring their innocence………..

In the most disturbing journey………… 


Waleed R. Qaisi

Sep 25th 2003

International Ceramic Research Center-Guldagergaard

Skelaskore-- Denmark



"A journey"
Earthenware clay and glaze
150 x 40 cm


"My friend"
Earthenware clay and glaze
40 x 20x10 cm




"Poetry book"
Earthenware clay and glaze
35 x 100 x 33 cm






Beauty and magic


Hearing the name Shigaraki since year ago has made me very interested. Since that time I have been looking forward to see what is Shigaraki?

 …. Japan… what kind of a culture it owns?

 How deep is this culture, traditions and customs allover ages?

My journey to Japan has started….. to a country that is different from my cultures and concepts.

 Long time ago I have realized  that it is very important to view the small details of this culture ( ceramics culture) with a wide eye, to explore it more and to comprehend it more openly and more widely; since it is all my concern.

Although I have some knowledge about Japan and the anagama culture- which was very interesting to me- but I have never seen it live, it is strange from my culture in the way of building the kiln and the firing process- the wood firing.

I think that modern ceramic art has become an independent art that owns its modern concepts, properties and special culture due to the modernization of arts in general; consequently the material has become the artist obsession. This material has its own sensibility and universal characteristics.

Therefore what I have seen in Shigaraki of such important works which I think them worth wise to be studied and discussed with great concern from many aspects of the aesthetic values, methods of building the form, techniques and themes, especially to our world (the middle east) because we need to broaden our vision toward what is happening in the world of such these modern experiments.

Shigaraki is a magical place where it is settling in the depth of the history of Japan, mixing its bright colors in its towering gardens; this scenery has allowed me to sense it as heroic pomes tickling and increasing my inspiration, struggling and confronting with my thoughts then pushing me to a nonstop work.

I think that in Shigaraki-SCCP- all cultures are gathered despite of their universal nationalities or roots in order to create magic which is researching in the beauty of the form and the surrounding space; a space that is wondering in  

the ceramist imagination  who himself is searching for new trends.

That is way I was sad and happy at the same time since the first moment for me in this place.


Waleed R. Qaisi

May 1st 2004

Shigaraki- Japan


From the right, Kuroda Minori, Waleed Qaisi, Koichi Ito, Sugiyama -Japan

"Sumarian board"
Shigaraki clay
 80 x  140 x  6 cm


Shigaraki clay
  28 x 65 x  25 cm


Shigaraki clay
32 x 120 x 25 cm




Shigaraki clay
 30 x  42 x 18 cm