Jane's work investigates the vessel as an abstract form and draws on her research into traditional pottery making and firing techniques of villages in India.
The quintessential round bottomed pot form is designed to sit on a mud floor or on a three-pronged cooking stove. She has adopted its qualities of balancing on a tiny point where it sits on a flat surface, enabling it to rock from side to side without falling over as it returns to its centre of gravity.
The form is both vulnerable and secure. The composite pieces also reference contemporary urban structures such as building, walls and bridges, exploring tension and balance where the two forms are placed together. They are not static and invite interaction through repositioning into new arrangements and compositions. The visually conceived weight is ambiguous as all works have internal volume through their double walls.
Pieces are hand-built using slabbing, press moulding and coiling processes. The surface is burnished and bisque fired at 840 centigrade, then sanded and re-fired to 1050 centigrade. Clay
is a mixture of Porcelain and Stoneware - sometimes mixed with organic material which fires out to give a pitted surface - to be later inlaid with a mixture of lime and oxide. This is followed by smoke firing in a saggar with various resists and combustibles.
Jane also combines studio work with writing and is author to a number of books on ceramic practice.