Ladi Kwali’s glazed water pots remain the most iconic expressions of her hybrid practice. Built through the Gbari coiling method, the vessels were shaped by hand, then refined with tools specific to her region: a blade-like palm rib for small pots, a porcupine quill for larger vessels, and wooden roulettes or pieces of string to create horizontal bands of repeating patterns. Her distinctive sgraffito technique, achieved by incising through a layer of white porcelain slip, revealed contrasting tones beneath and created a dynamic interplay between line and glaze. When fired under celadon glazes, the surfaces acquired a gentle translucency, accentuating the incised animal motifs and lending the vessels their characteristic glow.

Although Cardew introduced glazing and wheel-throwing, Kwali’s commitment to hand-building preserved the authority of Gbari women’s ceramic knowledge within an institution largely dominated by male trainees and Western pedagogical frameworks. Some of her pots remained unglazed, foregrounding the clay's natural texture and asserting the enduring relevance of Indigenous aesthetics in a rapidly changing ceramic environment. The water pot on display from 1968 exemplifies Ladi Kwali’s crosshatching and animal motifs on the vessel’s body. Alongside this vessel are works by Kwali, including thrown decorated dishes, tankards, a bowl, and a three-handled jar.