Jane Burton (b. )


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EDUCATION
BFA, University of California, Davis
Graduate Studies in Graphic Design

EXTENDED WORKSHOPS AND STUDIES
Jane Perryman, Smoked Fired Pottery, Resists & Fast-Firing Techniques, England
Stephen DeStaebler, Mendocini Arts Center
Peter Vandenburg, Santa Fe Clay
Andrée Thompson, Advanced Ceramics Sculpture
Susannah Israel, Advanced Ceramics Sculpture
Surface and Form – Idyllwild Arts Center, Greg Kennedy, Kevin Myers, Robert Brady and Sandy Simon
Firing Survey – Idyllwild Arts Center, Tony Marsh, Cara Moczygemba, John Toki and Patrick Crabb
Mark Lancet, Pit Fire and Raku Workshop, Sierra Nevada College
Jim Kempes, Pit Fired Pottery, Abiquiu, New Mexico
Camilla Trujillo, Micaceous Pottery, Abiquiu, New Mexico
Don Reitz, Richard Shaw, Vince Pitelka, Michael Berkley, Lesley Jensen: Walnut Creek Arts Center

PUBLICATIONS
BEST OF ARTISTS & ARTISANS – California 2006,
Second Place Sculpture Award
American Art Collector 2006, Alcove Books
“SMOKE FIRED POTTERY”, by Jane Perryman, due out Summer 2006
Clay Times, October 2005
“MAKING MARKS: Discovering the Ceramic Surface”, by Robin Hopper, Spring 2004
American Art Collector, Alcove Books, 2004
Ceramics Monthly, April 2003, Upfront Article and Photo, page 14
Ceramics Monthly, April 2003, Gallery Review, page 43
Craft of Northern California, Alcove Books, 2003

RECENT SELECTED EXHIBITIONS

2008
William Merrill Gallery, Laguna Beach, Group Exhibition

2007
William Merrill Gallery, Laguna Beach, Dual Exhibition
Gualala Arts Center, Gualala, CA, Group Exhibition

2006
William Merrill Gallery, Laguna Beach, Group Exhibition
Sculpturesite Gallery, San Francisco, CA “Body Language – Figurative Works by 5 Women Sculptors”,
Artscapes Gallery, “Spring Green and Woven Things”, Walnut Creek, CA,
“Get Fired: Hot Ceramics from the ACGA”, Pence Gallery Davis, CA

2005
Virginia Breier Gallery, San Francisco: Narratives in Clay
Solo Exhibition: Bedford Gallery Art Site, Walnut Creek, CA, “Stories Left Behind”
Pots: Objects of Virtue, A National Juried Exhibition, Juried by Mark Pharis,
Craft and Cultural Art Gallery, 2 pieces selected, Juried by Suzanne Baizerman
Ink & Clay 31, California State Polytechnic University, Pomona, 2 pieces selected, Juried by Henry
Hopkins, Professor Emeritus, UCLA Arts

2004
Oakland Museum Collector’s Gallery, “Vessels”
Alameda Arts Center, “From the Fire”, Award of Excellence, 2 pieces selected, Juried Exhibition by Jan Schachter and Suzanne Baizerman
Atrium Gallery, SF, CA
Antioch Lynn House Gallery, “Celebration of Art” 2 pieces selected, 3rd place Sculpture
CA State Fair Fine Art Exhibition, Sculpture and Ceramic Divisions, ACGA Ceramics Award & 2 Merit
Awards, Sacramento, CA
Pacific Rim Sculptors Group, Bancroft Sculpture Garden Annual Juried Show, 3 pieces selected
The California Clay Competition, Juried Exhibition and Honorable Mention Award by Margaret Keelan, The
Artery, Davis, CA
Sanchez Art Center, Arts on Fire, Juried Exhibition by Jack Rasmussen, Executive Director di Rosa Art & Nature Preserve, 2 pieces accepted, Pacifica, CA
Sebastopol Center of the Arts, Elements: Earth, Air, Fire, Water, Ether
All media Juried Exhibition

2003
Visions in Clay, Juried Exhibition by Robert Brady, San Joaquin Potters Guild
Pacific Rim Sculptors Group, Annual Juried Show, Juried by Kenneth Baker, SF Chronicle Art Critic, Fairfield Visual Arts, 41st Annual Juried Show, Jurors: Pete Coussoulis, David Hardy and Lisah Horner, 3 pieces accepted, First Place Ceramics Award, Second Place Sculpture Award
ACGA One of a Kind, 2 pieces, Juried Exhibition by Sandy Simon and Robert Brady, SF, CA
Visions in Clay, 2 pieces accepted, $1,000 First Place Award, Juried Exhibition by John Toki and Suzanne Baizerman, San Joaquin Potters Guild,
The California Clay Competition, Juried Exhibition by Richard Shaw, The Artery, Davis, CA
The Word Made Clay: Ceramics In It’s Own (W)rite, Juried Exhibition by Richard Shaw

GALLERY REPRESENTATION
William Merrill Gallery, Laguna Beach, CA
Sculpturesite, San Francisco, CA
New Leaf Gallery, Sonoma, CA
Art-Scapes Gallery, Walnut Creek, CA

TEACHING/ASSOCIATIONS
Founded ‘The Clay Connection’, procured funding and taught a series of pottery workshops and pit firings for women healing from cancer
ACGA, Exhibiting Member
Pacific Rim Sculpture Group
Board of Directors, Clay Arts Guild, 1999 to 2005




  • Hope

    Hope Ceramic 68 x 22 x 7.5 Inches For Sale Jane Burton’s current body of work is a timeless examination of humankind through the female form. Through her gestural and towering totemic figures, we examine perceptions of who we are as individuals - how we present ourselves, how we appear, our gender socialization, our self-worth – our strength, perseverance, spirituality and aging. Her figures are public, yet private – strong yet vulnerable.

    Burton has chosen clay for its primal, fluid and malleable nature. “I feel a connection in the clay body – its nature – and, intuition takes over. As the layers build upon each other and the pieces grow, they acquire their own spirits and our spirits connect. The exposed layers evoke layers of time, experiences and growth – the rhythm of life.”

    Many of Burton's works are scribed in her hand – personal thoughts and perceptions on who we are and how we become what we are. Trained as a painter, the surfaces into which she writes are organic and complex layers of analogous or complimentary glazes and oxides applied, fired, etched and refired.

  • Kelly

    Kelly Ceramic 19 x 5 x 4.5 Inches For Sale Jane Burton’s current body of work is a timeless examination of humankind through the female form. Through her gestural and towering totemic figures, we examine perceptions of who we are as individuals - how we present ourselves, how we appear, our gender socialization, our self-worth – our strength, perseverance, spirituality and aging. Her figures are public, yet private – strong yet vulnerable.

    Burton has chosen clay for its primal, fluid and malleable nature. “I feel a connection in the clay body – its nature – and, intuition takes over. As the layers build upon each other and the pieces grow, they acquire their own spirits and our spirits connect. The exposed layers evoke layers of time, experiences and growth – the rhythm of life.”

    Many of Burton's works are scribed in her hand – personal thoughts and perceptions on who we are and how we become what we are. Trained as a painter, the surfaces into which she writes are organic and complex layers of analogous or complimentary glazes and oxides applied, fired, etched and refired.

  • Madonna

    Madonna Ceramic 20 x 50 x 3 Inches For Sale Jane Burton’s current body of work is a timeless examination of humankind through the female form. Through her gestural and towering totemic figures, we examine perceptions of who we are as individuals - how we present ourselves, how we appear, our gender socialization, our self-worth – our strength, perseverance, spirituality and aging. Her figures are public, yet private – strong yet vulnerable.

    Burton has chosen clay for its primal, fluid and malleable nature. “I feel a connection in the clay body – its nature – and, intuition takes over. As the layers build upon each other and the pieces grow, they acquire their own spirits and our spirits connect. The exposed layers evoke layers of time, experiences and growth – the rhythm of life.”

    Many of Burton's works are scribed in her hand – personal thoughts and perceptions on who we are and how we become what we are. Trained as a painter, the surfaces into which she writes are organic and complex layers of analogous or complimentary glazes and oxides applied, fired, etched and refired.

  • Opening

    Opening Ceramic 35 x 8 x 6 Inches For Sale Jane Burton’s current body of work is a timeless examination of humankind through the female form. Through her gestural and towering totemic figures, we examine perceptions of who we are as individuals - how we present ourselves, how we appear, our gender socialization, our self-worth – our strength, perseverance, spirituality and aging. Her figures are public, yet private – strong yet vulnerable.

    Burton has chosen clay for its primal, fluid and malleable nature. “I feel a connection in the clay body – its nature – and, intuition takes over. As the layers build upon each other and the pieces grow, they acquire their own spirits and our spirits connect. The exposed layers evoke layers of time, experiences and growth – the rhythm of life.”

    Many of Burton's works are scribed in her hand – personal thoughts and perceptions on who we are and how we become what we are. Trained as a painter, the surfaces into which she writes are organic and complex layers of analogous or complimentary glazes and oxides applied, fired, etched and refired.