Jann Kesby
Location
Kempsey, NSW
About
Jann was born in Kempsey, New South Wales, Australia in 1954 where her workshop and kilns are situated.
Jann’s relationship with clay commenced during the late 1970’s where she was working in a production workshop before moving to Sturt Craft Workshop, Mittagong under the guidance of Ian McKay. Jann is fortunate to be ‘old school trained’ as an apprentice in production workshops. During this time she was introduced to exploring local materials, ash glazing and woodfiring. Jann has been firing kilns with wood ever since.
Since her 45+ year career in clay Jann has participated in numerous woodfirings and currently has an anagama and catenary arch kiln.
She has spent time studying in Japan, Golden Bridge Pottery, Pondicherry, India and The Shilaroo Project Himachal Pradesh, India.
Jann is exploring long firings in her anagama to build natural ash glaze and fires functional tableware in her catenary arch kiln.
She is currently exploring clay bodies using local materials and decomposed granite.
Artist Statement
DEMONSTRATION/PRACTICE LED PAPER
As an established production potter I propose to give a 1 day demonstration and insight on how to establish yourself into the pottery market as a production potter of functional tableware.
Over the period of the Triennale I would discuss my training of 45 plus years in the profession as a wood firing production potter.
I would throw runs of items starting with mugs of various sizes and forms and repeat these to showcase what is required to attain a sound product to release into the market.
I would demonstrate the pulling of handles onto mugs and drinking vessels.
From mugs I would move through other items of bowls, contemporary vase forms, coil and throwing of large pieces.
There is a huge shift towards using local materials. I use this in my practice so I would be happy to share my knowledge of using found materials, processing, testing and introducing them into clay bodies.
It is important to have a critical eye and to discard works that are not up to standard which touches on sustainable and environmentally manageable approaches in ceramic production.
Glazing and firing of works is just as important as the making process so a discussion regarding how to best fire your works would be included. Discussing kilns electric, gas or wood, oxidation and or reduction firing methods.