Our Craftsmanship Journey
Our Story
Our Products
Our Process
At Dajo Pottery, we have been creating beautiful ceramics for over four decades. Our passion for pottery began when our founder discovered the art of ceramics while studying abroad in Japan.
Our Process
Our Products
Our Process
We use traditional techniques to create our ceramics, including hand throwing, glazing, and firing in a kiln. Our attention to detail and commitment to quality ensure that each piece is unique and of the highest standard.
Our Products
Our Products
Our Products
We offer a wide range of ceramics, including bowls, plates, cups, and vases. Our products are both functional and beautiful, and are perfect for everyday use or special occasions.
About Dajo Pottery
Celebrating a Legacy of Excellence in Ceramics
Dajo Pottery is the legacy of four generations of master potters, rooted in the rich cultural heritage of the Tiv people of Nigeria. Founded by Master Potter Levi O’Bem Yakubu, a fourth-generation ceramic artist and visionary entrepreneur, the company was born from a deep respect for tradition, a passion for innovation, and an unwavering commitment to artistic excellence.
From its humble beginnings as a local pottery workshop in Nigeria, Dajo Pottery has grown into an internationally recognized, multi-award-winning ceramic enterprise. Each creation reflects a unique blend of indigenous craftsmanship and contemporary design, resulting in timeless works that are as functional as they are beautiful.
THE LIZARD POTS
Experience the Artistry of the Master Potter
Among the many works that bear Levi O’Bem Yakubu’s signature, none has achieved greater fame than the Lizard Pot. More than just a vessel, it has become the emblem of his creativity, ingenuity, and deep connection to the stories and struggles of everyday life in Nigeria.
Its beginnings were almost as dramatic as the piece itself. On the day Yakubu shaped the very first lizard design, the clay creature emerged from his hands with such startling realism that it seemed to possess breath and movement. That night, a prowling cat crept into the workshop, drawn perhaps by the illusion of prey. In a sudden pounce, it attacked the sculpture, leaving the lizard’s head damaged. By morning, Yakubu was devastated. Several hours of delicate craftsmanship had been undone in an instant by a curious predator.
But from disappointment came affirmation. A fellow potter, examining the damage, remarked that for a cat — a skilled hunter — to mistake his creation for a living lizard was the highest compliment an artist could receive. It was proof that Yakubu’s hands could coax from clay the very essence of life.
One of his most acclaimed variations on this design is aptly titled Between the Devil and the Deep Blue Sea. The work speaks not only to Yakubu’s technical mastery but also to his gift for embedding cultural narratives in his art. In rural Nigeria, the daily journey to fetch water remains one of the most exhausting and time-consuming tasks, particularly for women. After walking long distances under the sun and balancing a heavy pot on her head, a housewife might finally set it down. But almost without fail, the ever-curious agama lizard — a constant presence in human settlements — would climb onto the pot to drink from the cool water within.
At that moment, the woman faces a dilemma. Throwing a stone to drive away the lizard risks shattering the pot and losing hours of labor; leaving it undisturbed invites contamination of the precious water. It is the classic choice between two evils — aptly captured in the English proverb, “between the devil and the deep blue sea.”
In Yakubu’s hands, this ordinary scene from village life becomes timeless art. The lizard is caught mid-motion, poised as if unaware of the tension it creates, its textured body hugging the curve of the vessel. The pot is not merely a container for water, but a vessel of meaning — holding within it a story of hardship, decision-making, and the delicate balance between survival and loss.
For Yakubu, the Lizard Pot is more than a flagship creation. It is a bridge between the past and present, between the intimate details of Tiv rural life and the universal themes of choice, consequence, and endurance. In every line and curve, it affirms his philosophy that pottery should not only please the eye but also preserve the living memory of a people.
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