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Technique, Continued from Page 5

the interesting technique of slip inlay to
generate the lines. To do this, she first throws
and trims the work. Later, she draws on the
leather-hard form, excavates the lines with a
special tool, and carefully fills the “trench”
with a contrasting cobalt or black velvet slip.
‘The work is then bisqued and glaze-fired. This
method of working is very time-consuming
and meticulous, but it produces a line drawing
that is both fluid and physical: the dimple in
the surface created by the incised line is barely
perceptible but significant. Subtle texture and
contrast between the white clay and the dark
line introduce tactility and strength to the
otherwise spare designs. Each piece also has
an area of pastel glaze—pink, blue, green or
yellow—which serves in the case of hollow
or lidded wares to distinguish inside from
outside, or centre from margin in the case of
plates. For Jeffrey, the dialogue of inside and
outside, top and bottom, has always been
central to ceramic design.

Focusing on two main patterns might
seem restricting, but with these two, Jeffrey
is able to talk about the landscape, which she
encounters daily during long walks with her
dog, and to express her wonder at the different

Medium Vases, by Denise Jeffrey.

trees that impress her so in this new locale.
Both motifs support metaphoric or symbolic
dimensions. The topographical lines suggest
orienting one’s self in a new location—making
“mind maps’—or noting how nothing in
the landscape is isolated or unconnected. To
reinforce this last thought, Jeffrey set up small
bowls so that the lines from one bowl connect
with and run over the bowl next to it, making
a clear statement about how individuals and
life forms are connected and interdependent.
‘The tree motif, based loosely on a cherry tree,
is drawn to show not only the leaves but also

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the roots, which reach out and across the
feet of the various forms. It suggests a family
tree, an eco-system or the activity of putting
out new shoots and roots. The simplicity of
the drawing is deceiving, as careful looking
reveals possible readings or personal meanings
to the designs.

An exhibition later in the year will contrast
Jeffrey's earlier work produced in Nova Scotia
and this new work produced here. Viewers
of this show do not have the earlier work
to compare, but the contrast is interesting.
Both sets of work reflect the artist’s long-time
interest in pattern, decoration and drawing;
she says she is an inveterate “doodler,” and the
fluid lines do suggest doodles. However, the
earlier work incorporated carving—abstract,
textured fields of pattern—and darker, opaque
glazes. This new work, with its strong contrast
of pale celadon and dark linear elements, its
simplicity of form and decoration and its
lighter, more colourful palette, suggests the
artist is fitting in well to her new environment
and finding plenty about which to make pots.

Denise Jeffrey is the new president of the Potters
Guild of B.C.

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about reviewing one or two shows you
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Potters Guild of BC Newsletter - April 2012