I was fortunate to be invited on the International Artist-in-Residence program at the Taoxichaun Arts Centre in Jingdezhen, China.
Jingdezhen is the epicentre of Chinese ceramic porcelain production. Building on centuries of innovation in technique, style and glazing, it became the official site of production for the emperors during the Ming Dynasty, with high quality objects fired in the vast Imperial Kilns. Referred to in Europe as 'white gold', Chinese porcelain was highly sought after, (and its production a prized secret), and maintains its allure to today.
Ceramic production and culture remain the core of Jingdezhen with a vibrant mix of the old and new, individual, small scale and mass production take place side by side. There is a thriving ecosystem of master artisans, technicians, suppliers, and supporting trades that all contribute to the transformation of materials into objects.
Having worked hard to develop my own way of working and practice, I was ready for an 'intervention' – a challenge to work in a very different way. This meant stepping away from expressive, hands-on crafting with clay that is familiar to explore industrial techniques, use different materials, design thinking, and working with master artisans. I went with a project brief, 'Traditions Meet', to anchor me, but with an open mind. My focus was on the process rather than outcome, and soaking in the immersive pleasure of being in Jingdezhen.
'Traditions Meet'
Ceramic objects have been an important part of life in both China and Africa for the last 10,00 years, serving as both utilitarian and ritual objects. The specific geology and cultural contexts resulted in different methods of making ceramic vessels. In Jingdezhen, high-fired glazed porcelain ware decorated with painted motifs was produced at industrial scale and exported globally, with innovation being driven by production efficiency. In Africa, the dominant method was of hand coiled, burnished, low-fired production in terracotta with incised or textured decoration made for local or regional consumption.
Merging art traditions can result in new and interesting forms, and the body of work that I produced combines the visual line/form of Nigerian pottery (reference was the Jos Museum collection) with the material language of Jingdezhen.
glazed porcelain with ceramic transfers
height 28cm diameter 19cm
Like many others, I was drawn to the beauty of 'blue and white' porcelain. Originally, and still widely hand painted with cobalt oxide, ceramic transfers are an innovation which allowed for increased speed and uniformity in mass production.
slip cast porcelain with Master hand carving
height 17cm diameter 18cm
glazed porcelain with copper glaze fired in reduction
height 24cm diameter 18cm
Whilst renowned for its porcelain, there are also a large variety of stoneware clays in Jingdezhen.
press moulded stoneware with slip, reduction fired
height 32cm diameter 32cm
hand built glazed stoneware with texture from local found objects, reduction fired
height 32 cm diameter 27cm
I am grateful to Taoxichuan Arts Centre for giving me the opportunity to have the space and time to explore, experience, learn, challenge myself and develop. Thank you to Carving Master Feng, Throwing Master Hu and his assistant Mr Li. And thank you so much to Auchen, Zoey, Emily, Sun Yue, Hao-Er, Ying and San San for their friendship, fun and hospitality, and for helping me to navigate life in Jingdezhen so that I could make the most of the experience.