I create light pieces - lampshades - by slip casting bone china. 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. 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
'From my studio in a shallow dip of rolling farmland, I witness the enduring landscape exposed to the weather, the changing seasons, and passing of the sun. I glimpse the progress of wild creatures in the margins and ponder on the various traces of human life.'
This was an earlier attempt to describe the why and wherefore of my work. Is it still true? As usual, I find definition eludes me, although those words are at least in part true, I find my work is more abstracted now, more internalised. With each piece of work I am on a quest for the right resonating frequency, something human, something describing nature and the rightness of it. A kind of truth.