Jane, at her home studio

Jane Bamford

 

Jane began studying ceramics in Japan at To En Kai studio in 1993. She subsequently completed a BFA, majoring in Ceramics at the Tasmanian College of the Arts, Hobart and was awarded the Deans’ roll of excellence in 1995.  Jane was selected as an Associate at the Jam Factory Craft and Design Centre in Adelaide in 1997 and has since exhibited both nationally and interantionally. In 2018 she was selected as a finalist in the Waterhouse Natural Science Art Prize with a work examining climate change’s impact on Tasmanian marine environment and successively undertook an Art/Science residency at UTAS School of Creative Arts. Jane works at the Friends’ school in Hobart, Tasmania as a technician in art and ceramics and works from her studio at her coastal home south of Hobart.

 

Jane creates work over a range of ceramic processes including slab formed, hand built, slip cast and weaving. Much of her work is functional and highly designed and she also produces sculptural pieces, often incorporating an element or texture taken from, or observation of, the natural environment.  Predominately made from porcelain clays, her work is primarily informed from research and observation of the coastal, marine and alpine landscapes of Tasmania. Her observation, connection to place and environmental awareness has led her to produce work on issues like climate change’s impact on Tasmanian marine environments and the reestablishment of Spotted Handfish spawning habitat.

 

In 2018 Jane began a commission with the CSIRO to design and make ceramic artificial spawning habitat (ASH) for the spotted handfish (Brachionichthys hirsutus). These installations of ASH were SCUBA deployed into ‘ASH fields’ to support this critically endangered marine species. Creating ceramic ASH is a significant project which intersects her ceramic art practice with current scientific research and practice. In September 2018 there is news of the spotted handfish’s first wild spawning of the spotted handfish around ceramic ASH. It is rare that an arts practice has the opportunity to engage so directly with the natural environment in a manner that is beyond interpretive and has very real achievable positive ecological outcomes.

 

September 2018