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My work focuses primarily on pattern and ornamentation, and the psychological responses and societal implications that go along with them. My art serves as a visual representation of the qualities I desire in my daily life. I work in both 3D and 2D media with ceramics and painting, but my approaches to both materials are interwoven. I treat my ceramic pieces similarly to paintings, using glaze to transform the surfaces. Likewise, my approach to paint reflects my additive approach to the plasticity of clay. I am drawn to ceramics for its sustained nature; I am able to continue to move, change, clean, and perfect each piece. My process and work highlight the discrepancy between my mind, how I actually am, and what I wish to be. I am worrisome and undecided, and I ruminate often over everything that I do. My mind moves from thought to thought quickly and never seems to be still. This is where my interest in patterns comes in, even at a more subconscious level. I am drawn to the order and decisiveness of patterns. Patterns can be viewed in a purely artistic manner, but they also come with psychological analogues: we can experience ease or serenity in response to geometric order, or restlessness in response to a syncopated repetition. I work both spontaneously and with a specific plan in mind. The process of hand-building ceramic forms reflects more of my internal state. I go into these pieces with a basic idea in mind, but in the process they experience change and modification. My forms are somewhere between geometric and organic, and one flows into the next. The process of glazing these pieces is deliberate and decided, and responds to the form I have created. I am interested in textiles, woven art, and antique decorative art, and the patterns and ornamentation embedded in them. Patterns hold significance for communities and groups of people, and each unique arrangement, symbol, and design serves as a marker of identification for the world. However, I am most drawn to pattern motifs as they exude perfection and certainty. There is antithesis between my constant desire for perfection and order, and my more chaotic internal state, which my work embodies visually. The asymmetrical, organic, and fluid forms of my ceramic pieces are juxtaposed by the order I attempt to impose on them through ornamentation and geometric motifs. Yet, in this strive for perfection, my hand remains evident in my work, emphasizing the unattainable nature of perfection and tension that I feel. Additionally, there is a sense of order present in the linear and geometric symbols, yet there is tension present in the unusual, physical junction of the motifs present in my ceramic pieces and paintings.

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Jessica Rogers

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Jessica Rogers

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Can We Help?

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