Through her work, Jane explores her need to quell anxiety and feel some control in a world which seems unpredictable, chaotic and dangerous. She sees this need mirrored in wider society and social media, where many of us present carefully managed, idealised realities.
The world feels out of control – intractable conflicts, climate change, natural disasters, conspiracy theories, extremism and hatred, terrible poverty alongside extreme wealth. This feels overwhelming and frightening.
Jane explores the contradiction between her desire for control versus reality through sculptures in which form, texture and colour are metaphors. Each sculpture comprises some elements which are meticulously made and controlled, and others which are more spontaneously made and organic, resulting in bold contrasts. She allows herself controlled making, but also challenges herself to accept that control is not always possible, through processes which involve risk and ‘letting go’. She meticulously hand-builds and refines some elements, but also works rapidly and spontaneously on others.
Jane references landscape and the natural world when researching ideas. For example, chaotic geological folding, lava flows and surfaces colonised by growing organisms all provide rich sources for physical metaphors.
Jane makes small series’ of works, which are related through their overall form and concept. Through drawing and research alongside making, forms evolve into new combinations and visual stories, leading to the development of new series.
Technical information
Jane’s sculptures are hand-built or thrown and altered from white earthenware clay. Pieces are biscuit-fired to 1100 degrees in an electric kiln. Muted earthenware glazes, coloured with oxides or commercial stains, are applied by pouring or spraying and the pieces are fired again, to 1080 degrees. Vivid acrylic colours are applied at the final stage of making.
Jane is working to improve the sustainability of her practice. She has a new, highly efficient electric kiln, which is only fired when full, and she has discovered, and started to use, a range of high-quality bio-based acrylics.
All ceramic work, text and site pages © Jane King