Ceramics Monthly: How do you come up with the forms and surfaces that are prevalent in your work? What are your influences?
Jean White: The forms and surfaces draw upon ceramic archetypes such as the neoclassical wares of Josiah Wedgwood and other prevalent manufacturers of sprigged ware in the 18th and 19th centuries. Though appropriating these familiar styles, the works go beyond their historic counterparts’ decorative allure to communicate narratives that highlight the peril of numerous endangered species of birds indigenous to Britain.
A recent article in The Guardian details the decline of various bird species:
There are 247 million fewer house sparrows in Europe than there were in 1980.
One of every six birds—a net loss of 600 million breeding birds in total—have disappeared over less than four decades. Among the common species that are vanishing from the skies are yellow wagtails (97 million fewer), starlings (75 million fewer) and skylarks (68 million fewer).1
Realities such as these inform my work, and are conveyed through the subject matter of the imagery and the use of surface relief.
Making molds allows use of both positive and negative, convex and concave imagery as a metaphor for the presence and absence of species. The use of ammonites (an extinct mollusk) in conjunction with these images is employed to convey a direct message of the reality of extinction, if humanity persists with its ongoing disrespect for the natural environment.
The work’s citation of ceramic history echoes that of makers such as Hitomi Hosono and Beth Katleman, who reimagine historic traditions through a contemporary lens.
CM: What roles do you think makers play within our current culture? How do you think you contribute to it?
JW: My work is situated in the space where design, craft, and art intersect. Using our hands, eyes, and technology are fundamental human activities and continue to contribute to contemporary culture. By using traditional methods in conjunction with innovative new technology, I continue extending possibilities within the material culture of ceramics. I want the objects I create to have some emotional connection with their audience. Makers have the power to engage audiences with a diverse set of values: aesthetic, political, environmental, which help them question the world in which we live. I am currently undertaking additional studies to extend my traditional and digital processes to allow me to further express my narrative.
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Jean White, Northwich, United Kingdom
Ceramics Monthly: How do you come up with the forms and surfaces that are prevalent in your work? What are your influences?
Jean White: The forms and surfaces draw upon ceramic archetypes such as the neoclassical wares of Josiah Wedgwood and other prevalent manufacturers of sprigged ware in the 18th and 19th centuries. Though appropriating these familiar styles, the works go beyond their historic counterparts’ decorative allure to communicate narratives that highlight the peril of numerous endangered species of birds indigenous to Britain.
A recent article in The Guardian details the decline of various bird species:
There are 247 million fewer house sparrows in Europe than there were in 1980.
One of every six birds—a net loss of 600 million breeding birds in total—have disappeared over less than four decades. Among the common species that are vanishing from the skies are yellow wagtails (97 million fewer), starlings (75 million fewer) and skylarks (68 million fewer).1
Realities such as these inform my work, and are conveyed through the subject matter of the imagery and the use of surface relief.
Making molds allows use of both positive and negative, convex and concave imagery as a metaphor for the presence and absence of species. The use of ammonites (an extinct mollusk) in conjunction with these images is employed to convey a direct message of the reality of extinction, if humanity persists with its ongoing disrespect for the natural environment.
The work’s citation of ceramic history echoes that of makers such as Hitomi Hosono and Beth Katleman, who reimagine historic traditions through a contemporary lens.
CM: What roles do you think makers play within our current culture? How do you think you contribute to it?
JW: My work is situated in the space where design, craft, and art intersect. Using our hands, eyes, and technology are fundamental human activities and continue to contribute to contemporary culture. By using traditional methods in conjunction with innovative new technology, I continue extending possibilities within the material culture of ceramics. I want the objects I create to have some emotional connection with their audience. Makers have the power to engage audiences with a diverse set of values: aesthetic, political, environmental, which help them question the world in which we live. I am currently undertaking additional studies to extend my traditional and digital processes to allow me to further express my narrative.
1 Patrick Barkham, “House sparrow population in Europe drops by 247m,“ The Guardian (London, England) November 16, 2021. www.theguardian.com/environment/2021/nov/16/house-sparrow-population-in-europe-drops-by-247m.
Learn more at www.jeanwhiteceramics.co.uk.
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