The medium of clay with its malleability has been used by artists throughout the ages, from the celebrated 18th century figurative maquettes of Houdin to Picasso’s and Dufy’s masterpieces of the mid-20th century. Its capacity to combine form with function still continues to create something of a hybrid of our own time, and in this context, the work of Sheila Seepersaud-Jones (SSJ) is often perceived as having fallen between ‘two stools’, seen as neither the work of a fine-art sculptor, or that of a ceramicist. This creates an unfair diversion from simply looking at the work which, for a long time, has been successfully combining those very elements.

Trained as a sculptor at St Martin’s School of Art in the mid-1980’s, Sheila Seepersaud-Jones rejected the still prevalent ‘heavy metal’ school and searched for an alternative sources of materials, finding clay to possess those very qualities of plasticity she required. Also continuing a parallel career in nursing she continued her work as an artist, with clay remaining central to the development of her art practice.

Benefiting from a sculptor’s technology, many of her larger stoneware pieces are constructed from a series of units. The stoneware forms lock together, stacked, one upon the other to create monumental works. This is best seen in the series entitled Sculpture in Construction, made up of large bead-like monochrome black and white forms. Some ten feet high, they form totemic columns which seem to resound with echoes of an ancient past. These stark pieces have an austere quality which is in total contrast to SSJ’s other work which is often humorous and full of rich colour and decoration.

Many of her smaller-scale pieces are inspired by the formative years spent in Guyana, and relate to the country’s multi-ethnic history as expressed through the annual Masquerade Festival. The following works: The Market Lady, Performing Artist, The Headmistress and Prince Phallic and the Listening Ear are half-vessel, half-animal, half-human, and although they relate to more conventional pottery, are not intended to be functional, they appear more as semi-figurative ceramic sculptures, their surface decorations implying a narrative theme.

Most conventional of all in appearance are SSJ’s large bowls and dishes. These pieces are functional, but they can also be read in two-dimensions, as abstract paintings. In these works, translucent washes of vibrant colour are applied in layers to the concave surfaces in order to create lush, shimmering landscape-like compositions which have movement and depth.

SSJ can best be described as a ceramic sculptor, with a real capacity for handling the material and taking it on a journey of exploration, back to her roots, rich in imagery and content. The current exhibition provides an opportunity to share in that journey which is also one of self-discovery and renewal.


Technical notes
SSJ uses a mixture of buff and white clay. The works are thrown, slabbed or coiled, then bisque fired to 1,000 degrees centigrade over a period of twelve hours. A slip glaze is used on the black pots and fired to 1250 degrees centigrade. A white slip is applied to the white pots, then a thin layer of matt glaze is applied and fired to 1150 degrees.

On the colourful pots SSJ paints with under-glaze pigments and oxides, then sprays with a lead-less transparent glaze and fires to 1150 degrees. Sometimes multiple firings with other glazes are needed in order to achieve the desired effects.


Biography
Born in Guyana SSJ taught English before coming to England to train as a nurse. She developed an interest in the arts and achieved a B.A. Honours degree in Fine Art [sculpture] at St Martin’s School of Art, London. Lately, she is concentrating on clay to explore texture, colour and pattern on three dimensional surfaces.

SSJ has exhibited in numerous galleries in the UK including the Anna Bornholt gallery, The Barbican and the Royal Festival Hall. During 1986-87 she was resident artist and visiting lecturer in ceramics at the University of Houston, USA. SSJ now lives and works in London.


Acknowledgements
I would like to thank Ian Simpson, writer, for his advice and encouragement. Special thanks go to Michael Regan, Visual Arts Officer at Canada House, London, for writing the introductory text, to Dr Richard Jones for photography and John Bartlett for graphic design. Finally, this publication would not have been possible without the support of the Education & Leisure Services Directorate of Wrexham County Borough. SSJ


Dedication
To Richard and Emily Jones, whose love and support has been an inspiration throughout my life. SSJ