Heavy pots built by hand and instinct
- Jade builds her vessels with both new and reconstituted clay
- She works on up to 12 pieces at once
- Her vases and pots are all created in coordination with each other
Nothing is wasted in Jade Paton’s home studio, where leftover clay and grog are reconstituted into the soft, workable medium she works with every day. With the help of her assistant, she works on up to 12 pieces simultaneously. Jade's works are planned as collections rather than individual creations. "Both my functional and decorative objects stand on equal grounds of form, texture and colour. These elements are central to how I work," she says. Jade begins hand-building instinctively, by lining a press mould and coiling upwards to extend the line. If a pot feels too cliché, she may add an extension or extract some clay, with close attention to the final silhouette. Once the piece is complete, it is left to dry leather-hard, before a smooth, rough or irregular texture is applied. It is then finished with glazing and glaze firing.
INTERVIEW
Pottery has been with me since childhood. After studying sculpture at Michaelis School of Fine Art, I took a pottery class for fun. My first piece back then mirrors my style today. That moment felt instinctive and clear, as if I had found my calling.
I chose ceramics because I was bursting with ideas and excitement to keep creating. I fell in love with the process itself, and the fact that I never stop exploring new techniques. Ceramics feel natural to me.
I am inspired by ancient vessels, natural forms, architecture, design and contemporary art. I am also drawn to the intersection of ancient and futuristic influences, where tradition meets contemporary expression.
Each piece that I make is unique, hand-built and shaped by both instinct and the material itself. While some objects are functional, they are equally as valuable as art objects, with form, texture and colour being central to how I work.
