Jenny Amon

Large ceramic jars

The vessels are hand-built from red and black stoneware clays, using the coil and pinch methods. Each coil is finely pinched out before a further is added, in a rhythm that creates a distinct, organic texture. Using simple wooden tools, I slowly expand the soft forms from the inside, creating an internal tautness. Forms emerge in series, metamorphosing through infinite new variations.

Surfaces are coated with thin layers of slips and glazes. The rhythmic pattern made during the pinching process is accentuated by glaze pooling into the hollows. The vessels are fired several times, until the desired quality of colour and texture is achieved.

Clay has a memory. It is my aim for the vessels to trigger a memory in the viewer: tracing the surface recalls the texture of stone; flecks of green likened to lichen.

THE PANDEMIC EFFECT

Working in isolation due to the pandemic has been very challenging for many artists’ working practices and for the production of objects. Physical exhibitions have been curtailed, cancelled and many galleries have had to adjust their programming, so artists are dealing with the challenge of exhibiting work that is tactile and multi-dimensional.

However, makers need to make as a way of finding solace and joy in difficult times. Making by hand helps us to develop empathy for ourselves, our communities, and our planet. It is a lifeline.

There is also the contradictory hope and gratitude that the world has been put on pause, having a chance to heal from our hectic and harmful lives.

But we also exist. We have a story. We want to be acknowledged and heard. We want to express ourselves, have a witness to our lives, and try to make our place in the world.