Artist Statement

“It is good to have an end to journey toward; but it is the journey that matters, in the end" - Ursula LeGuin.

"Of Symbolism and Sanctity":

Several years ago my painting and clay work took a turn from a purely figurative approach. It was like a breaking
from conformity of imagery and releasing defined control over my mediums: paint and clay.

My first ceramics professor introduced me to pre-historic Japanese, Jomon pottery. Many clayworkers have
communicated their spirit world in functional form but for me there was something unique with the Jomon. That
day, I was handed a book and was hooked – on the nature and possibilities of language in clay. I think that pieces
in clay are most quickly understood and that this is true because clay is meant to be touched.
The introduction to this period of pottery began an awakening of all sorts for me. This physical interest eventually
led to a much-needed spirit-search which I found through the concept and ideas of Zen. Although unaware of it at
the time, I began a mental and spiritual catharsis which began to take precedence in my work. So began an
experimentation of language iconography both two and three dimensionally – I began to do the same thing with
my paintings - in a search for something far more open and uninhibited by ego. I wanted fun! I wanted to
approach my work like children do. Children don’t think about it and mull it over back and forth, they just do it.

The Watercolors:
It is easy to celebrate the nature of this medium. Watercolor is immediate and unchangeable, permanent and
transparent. The beauty of the medium lies in its own nature to do what it does best without manipulation to the
process. I use the idea, the simplicity of the color field in order to allow the direct and natural beauty of the
medium to simply “be” in and of its’ own. The choice of the paper is meant as part of the work also which is why
I prefer working on unstretched paper. Watercolor papers are beautiful things all by themselves.

The Oils:
Unlike the watercolors, the oils are a more formalized statement in contrast to the immediacy and spontaneity of
the watercolors. Use of light, texture and space within the ideas of minimalism are the processes being used as well
as the manipulation and arrangement of pigment and line – a composition within the asymmetrical as perfect
balance. I use this approach to the field as a constant thus avoiding the pragmatic.

The Clay:
Most of my clay work, especially the tiles, follows the precepts of the paintings. Watercolor or an oil glaze color
field is gentle and fragile yet permanent, clay is physical and visceral yet changeable. This compare/contrast works
well for me with the contrast in medium creating consistency for me throughout all my work. The sgraffito and
surface treatments are direct and immediate while the Earth elements and the fire of the kiln decide the finality of
success. Three approaches that have formed a relationship between the clay and myself: Free-hung tiles and their
continuing surprises of language; the vessel - whether thrown or built or sculpted, whether large or small, functional
or non-functional is a celebration; pure sculpture work: a one-of-a-kind purposeful original made in clay.

Love dearly,
Love best;
Experience the crest of the zest of life!
But for a Dream,
Look back once...
And, upon a time,
Life circles.

--J. Jaquette