Jane Gibson | 纸窑艺术家

原创纸窑计划纸窑计划

Jane Gibson and her ceramic works

简·吉布森和她的陶艺作品们

Jane Gibson

简·吉布森来自英国，是一名物理治疗师（理疗师）。1974年，她参加了一个成人教育班，当她第一次把手放在粘土上时，便爱上这种材料——这是一种一见钟情的感觉。后来她便一直在学习陶艺的课程，并在此期间在国外生活和生孩子。1986年买了一台拉坯机和一台窑炉，并加入了肯特陶艺家协会，该协会提供了继续学习的机会。作为肯特陶艺家协会的成员已有十年，在此期间担任主席四年。现在的她是肯特波特通讯社的一名编辑。

Jane Gibson comes from the UK, works as a Physiotherapist. She first had her hands in clay in 1974 when she attended an adult education class. It was love at first feel. She continued with classes between living abroad and having children and in 1986 bought a wheel and kiln and joined the Kent Potters Association which has provided continued learning opportunities. She was a committee member for ten and Chairman for four years. Now she is the Editor of the Kent Potters Newsletter.

1992年，她和丈夫在巴基斯坦卡拉奇工作，并在印度河流域艺术与建筑学院教授陶艺。她四处游历，对传统陶艺家产生了浓厚的兴趣——他们使用了与他们祖先相同的技术。简对三千年前在该地区繁衍生息的印度河流域文明产生了兴趣。用巴基斯坦哈拉帕的瓷砖复制品和传统的木制邮票来装饰她的罐子，还试图复制自然火的痕迹。

In 1992 she worked in Karachi, Pakistan, with her husband where she also taught ceramics at the Indus Valley School of Art and Architecture. She travelled widely and became fascinated by traditional potters who use the same techniques as their forebears. She became interested in the Indus Valley Civilization which flourished in the region 3000 years ago. She used copies of tiles from Harappa, Pakistan and traditional wooden stamps to decorate her pots as well as trying to reproduce the natural fire-markings.

Sebastian Blackie, paper kiln and Jane in 1992.

塞巴斯蒂安·布莱克,简·吉布森与纸窑，1992年.

回到英国后，她完成了《陶瓷城和行会文凭》的第一部分和第二部分，获得了全国最高的分数并获得了一枚奖章。她把对印度和巴基斯坦的日用器皿的研究作为她的研究项目的基础，她的灵感来自于印度次大陆的罐子上火的痕迹（低温烧制留下的火痕）以及火盆上闪烁的颜色。在新西兰生活期间，她遇到了坑烧窑，并希望在郊区的一个小花园的无烟区也能得到同样的效果。几年前，她看过一个纸窑演示，想知道它是否能产生她想要的效果。因此，她发展出一种在纸窑中烧制的技术，这种烧制方法是先用砖围成一个不封顶的方形，再在其中放进纸窑并加入木材。这样在很小的空间内完成，而且燃烧干净的烧制方式，其效果类似于坑烧的效果。

On returning to England she completed parts 1&2 of the Ceramic City and Guilds diploma gaining the highest mark in the country and receiving a medal. She used her studies of the domestic ware of India and Pakistan as the basis for her research project. She was inspired by the fire-markings on low-fired pots from the Indian Subcontinent and the colour flashes from pitfired pots. Whilst living in New Zealand she had come across pit fired pots and wanted to get the same effect in a smoke free zone in a small suburban garden. She had seen a paper kiln demonstrated some years before and wondered if it could produce the effects she wanted. So she evolved a technique of firing in a paper kiln with added wood in a brick surround which produces similar effects to pit firing but can be done in a small space and burns cleanly.

纸窑烧制方法滑动查看更多

多年来，她经常到印度等地旅行，在那里她记录了乡村陶工的技能。2006年，她在德里花了一个月的时间，展示了自己的烧窑方法和作品。最近，她访问了中国、乌兹别克斯坦、塔吉克斯坦、俄罗斯和西伯利亚，拜访了当地的陶瓷手艺人。她定期为肯特波特杂志撰稿，并在国际杂志《陶瓷评论》上发表了4篇文章；她拍摄的果阿的（印度西南一地区的居民）陶瓷手艺人的照片出现在简·佩里曼的《烟火陶艺》一书中。她不同寻常的烧制方法曾在澳大利亚一家杂志《感知中的陶瓷》和一本新书《高级陶器技术》中刊登。

For many years she traveled frequently to the Indian Subcontinent where she documented the skills of village potters. In 2006 she spent a month in Delhi demonstrating her method of firing and exhibiting her work. More recently she has visited China, Uzbekistan, Tajikistan, Russia and Siberia to visit local potters. She writes regularly for the Kent Potters magazine and has had 4 articles published in “Ceramic Review” an international magazine; her photographs of Goan potters appeared in “Smoke-fired Pottery” a book by Jane Perryman. Her unusual method of firing has been featured in “Ceramics in Perception” a magazine in Australia and in a new book called “Advanced Pottery Techniques”.

她的陶罐是用白陶土制成的轮子或石板，当坯体慢慢变硬时将其磨光呈皮革质感，在电窑里烧到940℃，然后放在花园里用纸窑烧制。她把报纸紧紧地卷成一圈，像一个18英寸高的篮子一样叠起来。放置在一个砖块围起来的锯末中间。在烧制之前，这些罐子是纯白色的，里面有碎布、稻草、海藻、盐、三氧化亚铁和硫酸铜，周围放上一些小木片，整个“建筑”都被点燃了。然后用一块波纹铁皮覆盖，等待它的冷却。第二天，人们总是兴奋地去看看这些罐子发生了什么，最后清洗和用蜂蜡抛光。

Her pots are wheel thrown or slab built in white stoneware clay. They are burnished whilst leather hard and fired to 940c in an electric kiln. They are then fired in her garden using a paper kiln. She makes it by tightly rolling newspapers into circles which she stacks like a basket about 18” high. This is placed on sawdust in a brick surround. The pots are pure white before firing with rags, straw, seaweed, packets of salt, ferrous and copper sulphate. Small pieces of wood are placed around and the whole structure set alight. It is covered with a corrugated iron sheet and left to cool. Next day there is always excitement to see what has happened to the pots. They are finally washed and polished with beeswax.

pots before firing

烧制前的素坯

对她来说，纸窑主要是一种烧制陶器的方法，但对一个组织来说，造窑可能是一个很棒的集体活动，她参加过许多这样的活动。作为一种使用免费废料的烧制方法，几乎不产生污染，而且是一件有趣的事情，她很高兴与大家分享她的经验。

For her the paper kiln is primarily a method of firing pots but the making of a kiln can be a wonderful group event for an organisation and she has taken part in many of these. As a method of firing that uses free waste materials, produces little pollution and is a fun thing to do she is delighted to share her experience.

简·吉布森除了去过巴基斯坦、印度等地，当然也来过中国。在她的文章里我们可以获知她去过成都、荥经、景德镇、唐山、宜兴、贵州等地，并且多次在景德镇驻场。曾在景德镇的真如堂教授过纸窑的烧制方法。她大多数作品都是以低温陶器为主，捕捉火的痕迹。正如她所说的那样，她将纸窑视为一种烧制陶器的方法，追求陶器表面的火的偶然装饰效果。相较于瓦利·霍斯（Wali Hawes）的临时雕塑来说，又是另一种视角。2020年，因为疫情的原因，简的工作和生活也受到了一些影响，所幸的是她有了更充足的时间来制作陶艺作品。Covid（新冠病毒）便是她当下的最新创作。