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The quiet and contemplative work of Jennifer Lee evokes stillness and solitude. Her hand-formed vessels, carefully colored with oxides, project a purity of form and clarity of purpose. These are intimate ceramic works that retain a sense of personal poetry and tremendous presence.
One light-bodied piece, with its small foot and slightly curving silhouette, shows her extraordinary sensitivity to the vessel form. The considered curvature of this pale pot is soft, yet strong. The parchment-like surface provides a tactile clue to the maker and the material, its texture a reminder of the many passes of the hand and the distillation of time. The speckled trace of oxide, which has been fused into the clay, continues on the inside of the piece, uniting and animating the interior with the exterior.
A darker and more open form shows Lee’s use of banding, haloes and painterly color. Nature, perhaps the dry desert landscape or the sedimentation in geologic forms, seems to be a source. The laminations of subtle color, like growth rings on a tree, are balanced with open areas and spots. Jennifer Lee’s haloed traces and subtle transitions bleed and blend, one band into another. Here the viewer can see the artist’s fully developed method of coloration. She does not use glaze, but mixes the metallic oxides into the stoneware clay body before hand-building the pot.
Jennifer Lee was born in Aberdeenshire, Scotland, in 1956. She lives and works in London. Jennifer Lee has had retrospective exhibitions of her work at the Rohsska Musset in Goteborg and Aberdeen Museum and Art Gallery. Her work is represented in major public collections worldwide including the Metropolitan Museum of Art, New York, where she exhibited in Clay into Art, 1999. She is also represented in the collection of the Los Angeles County Museum of Art, and her work was included in the traveling exhibition Color and Fire, 2000.
