Available Artwork
Jane Smith
Pottery
View all available artwork by Jane
Bio
Although I had taken two courses through the Nanaimo Pottery Co-op in the 1990s, my pottery journey began in ernest in with courses at the Arrowsmith Potter’s Guild in Parksville, where the encouragement and support of Algis Bubnys and Linda Reid gave me the confidence to leave my day job and fully commit to life as an artist.
In 2003, I joined a group of local potters—including Algis—to co-found Pyromania Pottery in Coombs. The gallery’s energy and success pushed me to expand my creative expression, experimenting with multiple styles and techniques. During this time, and for several years afterward, I also participated in exhibitions and sales through the Comox Valley Potter’s Club, as well as various winter and summer craft shows.
Each treatment begins with the pot as a canvas. Horsehair and feather firing require careful placement; heat then allows the horsehair to dance and the feathers to wrap themselves around the curves of the pot.
Saggar firing, by contrast, is an ongoing process of experimentation—an alchemy of materials, intention, and serendipity—ultimately shaped by what the flame gods choose to release.
Painting on stoneware feels like a return to the lightness of watercolours. Once again, I feel like a very excited beginner: deeply engaged, still experimenting, and in the process of developing a new visual language.
Today, my work focuses on three distinct approaches. Two are decorative techniques—Horsehair and Feather, and Saggar firing—which embrace spontaneity and the beautiful unpredictability of the firing process. My functional pieces are hand-painted, a practice I find deeply engaging and joyful. This direction feels like the beginning of a new creative chapter.
Artist Statement
My journey as an artist began with watercolours. The light, airy worlds created by that medium felt like a perfect expression for me.
After a few years, however, I found myself craving texture, which led to a focused exploration of clay. With this medium, the forms themselves remain unchanged through the firing process, while the possibilities for surface decoration are nearly infinite.
At this stage in my artistic journey, I have embraced three distinct surface treatments—each a world unto itself—that further elevate my forms.
Each treatment begins with the pot as a canvas. Horsehair and feather firing require careful placement; heat then allows the horsehair to dance and the feathers to wrap themselves around the curves of the pot.
Saggar firing, by contrast, is an ongoing process of experimentation—an alchemy of materials, intention, and serendipity—ultimately shaped by what the flame gods choose to release.
Painting on stoneware feels like a return to the lightness of watercolours. Once again, I feel like a very excited beginner: deeply engaged, still experimenting, and in the process of developing a new visual language.
