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Leah Jensen
Boppard Series Side Panel 1, 2024
White stoneware clay
20 x 12 x 12cm
Series: Boppard
CF1292
Photo: Robert Chadwick
Currency:
Further images
At first glance of Leah Jensen’s work, you can not help but delight in the sheer beauty of each form, your appreciation heightened by the illustrious exactitude of the artist’s...
At first glance of Leah Jensen’s work, you can not help but delight in
the sheer beauty of each form, your appreciation heightened by the
illustrious exactitude of the artist’s craftsmanship. When you then
discover that the origin of the carvings on each of Leah’s ceramic
vessels comes from her love of Renaissance paintings you realise that
the work goes beyond elaborate technique. It is rich and laden with
meaning and despite being clean-cut and contemporary in its form, its
tendrils stretch back in time, thousands of years into the past. Leah’s
latest stoneware vessel, inspired by The Boppard altarpiece in the
Victoria and Albert Museum. This limewood and pine, painted and gilded
altarpiece originates from Rhenish, Germany, c.1510-20. As a three panel
piece, Leah was drawn to the composition of each panel and this is one
of three works which will be made as part of this series. As with all
of her sculptural vessels, Leah allows the fundamental elements of the
painting to dictate the final design of the pot. This is a technique
that the artist developed after learning about the maths and planning
some of the great masters used when considering their composition. In
doing so, she unearths hidden geometric structures that reside beneath
the surface of the painting. Talking about her unique process Leah says,
"Once
I have my hand-built vessel at hand, I apply images of a painting onto
the unfired clay surface. I then use pins to pick out points within that
painting which I feel are key to the layout-they might be facial
features, negative space created by limbs or the corners of buildings.
Once the paper and pins are removed, I am left with a network of
pinholes, which I then join to create my carvings. The irregular
intervals in each piece pose a complex challenge and test my carving
ability. At the same time, these points are dictated to me in a very
sporadic way, which I don’t feel I would have been able to achieve as
effectively by any other means.
“Carving each vessel
by hand is a very slow and mediative process that allows space for
reflection. Once the vessel is complete the narrative is hidden, just
as the structure of the painting before it.”
the sheer beauty of each form, your appreciation heightened by the
illustrious exactitude of the artist’s craftsmanship. When you then
discover that the origin of the carvings on each of Leah’s ceramic
vessels comes from her love of Renaissance paintings you realise that
the work goes beyond elaborate technique. It is rich and laden with
meaning and despite being clean-cut and contemporary in its form, its
tendrils stretch back in time, thousands of years into the past. Leah’s
latest stoneware vessel, inspired by The Boppard altarpiece in the
Victoria and Albert Museum. This limewood and pine, painted and gilded
altarpiece originates from Rhenish, Germany, c.1510-20. As a three panel
piece, Leah was drawn to the composition of each panel and this is one
of three works which will be made as part of this series. As with all
of her sculptural vessels, Leah allows the fundamental elements of the
painting to dictate the final design of the pot. This is a technique
that the artist developed after learning about the maths and planning
some of the great masters used when considering their composition. In
doing so, she unearths hidden geometric structures that reside beneath
the surface of the painting. Talking about her unique process Leah says,
"Once
I have my hand-built vessel at hand, I apply images of a painting onto
the unfired clay surface. I then use pins to pick out points within that
painting which I feel are key to the layout-they might be facial
features, negative space created by limbs or the corners of buildings.
Once the paper and pins are removed, I am left with a network of
pinholes, which I then join to create my carvings. The irregular
intervals in each piece pose a complex challenge and test my carving
ability. At the same time, these points are dictated to me in a very
sporadic way, which I don’t feel I would have been able to achieve as
effectively by any other means.
“Carving each vessel
by hand is a very slow and mediative process that allows space for
reflection. Once the vessel is complete the narrative is hidden, just
as the structure of the painting before it.”
Exhibitions
Selected Exhibitions20 Years of Cavaliero Finn 2024 - Stockwell Studio