In conversation with Jemma Gowland, ceramicist

Earlier this year I was lucky enough to see Jemma’s work in real life for the second time at Ceramic Art London. I must admit the first time I saw it, I wasn’t sure of what to make of it at first glance, I am usually drawn more to vessels and functional ceramics. But when I looked closely at the figures and saw the character and joy in them, I loved them. I think the girl with lipstick drew me in first. The second time I saw Jemma’s work, I talked to her about it and then I loved it even more after hearing her thoughts behind it:

“My work reflects two overlapping ideas - the history of the porcelain figurine, where it seems a girl is represented as solely a ‘beautiful object’ to be placed on a mantelpiece, and also the way that upbringing continues to define and influence our whole lives. There is still an idea that a girl should ’sit still look pretty’, that there are expectations around behaviour and upbringing that are not applied equally. Even the tiniest baby girls are frequently dressed in pink from the moment they are born, a clothing labelling system. Therefore the work uses the connotations of the figurine to both represent and challenge these perceptions. These girls continue as beautiful objects but in a subversive, rebellious way, making their own statement.”

This last line in particular resonates with me.

Who - are you?

My name - for this work - is Jemma Gowland. I should point out that this is my maiden name, and that I particularly use J Gowland in honour of my late father, who never ceased to delight in making things. I switched to using this name for my work when it took a very different direction back in 2019. Before this I had spent 5 years or so working in ceramics but under my married name making animals and birds.

Like many people, I have come to ceramics as a later life career. Initially, very long ago, I studied Engineering Product Design, later going on to work as a freelance industrial designer, then when I had a family I became a teacher of D&T (wood, metal plastic etc) for about 20 years.

Why - do you also have a thing with ceramics?

I have always been interested in different materials and their uses. I find the technicalities and different making methods fascinating. Therefore, I was very happy when the school where I worked suggested a pottery evening class. I originally thought this would simply be another interesting material, but quickly realised the amazing range of possibilities it can offer. For someone interested in learning new techniques Clay has an almost unlimited scope. It quite quickly became a bit of an obsession, and I took every class or short course I could find. Along the way I found the ‘pottery family’ of lovely people that I am lucky to be part of.

When - did ceramics come into your life?

As mentioned, ceramics first became a big part of my life back in about 2014, which was when I stopped teaching and became a full time maker. I had a long term residency at a bird park sculpting on site and highlighting at risk species. This was great practice at developing the observational skills I use now in creating figures with narrative. I might have continued in this way, however in order to improve my knowledge and skills I was able to join the City Lit Ceramics Diploma in London - an amazing two year course which made me question not only how I was making, but why. Hence I realised that I could use this medium not just to create decorative objects but to try to convey a message, or use it as a means of expression.

Where - can we find you on a typical day?

I am so lucky to have a studio in the garden, in the Kent countryside. I work there every day, although I also get distracted by the two miniature donkeys who’s stable and yard is next to the studio, and my three small dogs.

What - are your plans for the future?

Plans for the future are currently… fluid. I am focussed on a number of events over the summer, such as the sculpture shows at Beaulieu and Doddington Hall, and Potfest in the Park. The spring and summer are often times when events happen, while the darker months are when ideas germinate and experiments happen. I love creating large groups of figures - in this way they create narrative, or interact in specific locations, such as the installation for Byron’s bicentenary of Newstead Abbey last year, or the 18 section piece based on the interconnection between social media and children exhibited at the Summer Exhibition the year before. So currently the ideas for the next venture are brewing, ready to be developed further.

The 18 section piece based on the interconnection between social media and children exhibited at the Summer Exhibition in 2023

Has Jemma’s work resonated with you? Did you know, if you go to ceramic events and talk to the artists about their work and how they make it, you’ll love ceramics even more?! Find out more about Jemma and her work on her website.

Jemma Gowland website