Sarah Jenkins Lampshades
I have been creating lampshades by slip casting bone china for over a year. The hand-casting process creates organic irregularities, making each one unique, looking as if it has grown, rather than been made. Although light, they are surprisingly strong, with a gentle translucency that provides a warm soft glow of illumination through the shade. When the lamp is off they have a beautiful matt white textured surface, like a shell. The addition of paper pulp to the slip means that it is possible to produce exceptionally thin and translucent shades. Even the large pieces weigh only around one kilogram.
Sarah Jenkins studio ceramics
July Open Studios
I want the work itself to be the most eloquent of artists' statements. I find I am not good at pinning down what I do with words. I feel I am on a search, my quarry is elusive, intuition is more helpful in this territory than analysis.
A key influence is the land around where I live, where I was born, to which I feel attached. However, although ever-present, sometimes this aspect can be more subliminal or oblique. Ceramics is my dominant medium. I do paint sometimes, and I have recently completed the first of a series of bronzes.
My journey has been unconventional, and includes: leaving my Fine Art degree; a long period working as a plasterer in the building trade; adult-education classes at Morley College, with Jill Crowley as a tutor (while on a two year independent study course); clay work with people with mental health problems; a lot of experimentation, including building more than one studio and raku kilns; and a sabbatical in a Cape Town ceramic studio, where I was able to focus on consolidating technique.
Ceramics are always hand built and fired several times. Currently I like to use simple slips and oxides with scant use of glaze.