Jane Grimm


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Meet the Artist

  • About This Artist

    Jane B Grimm is a San Francisco based ceramic sculptor. After a successful twenty-year career in jewelry, she found clay. She received her MFA in Ceramics with High Distinction from the CCAC in 1992.

    Jane’s sculpture has been on display at the Richmond Art Center, SFMOMA Artist Gallery, SF Museum of Craft and Folk Art, Marin MOCA, AMOCA, and Oakland Museum Sculpture Court. Corporation collections include Lucent, J. Moore Partners, LLC, Neiman Marcus, Wachovia Bank, and Sutter Health Hospital. Her artwork is in the collections of the Berkeley Art Museum and the Nora Eccles Harris Museum.

  • Q&A With This Artist

    A: My sculptures primarily are made using low fired talc clay, glazes and under-glazes. If a sculpture is to go outside, I will make the piece using a mid-fire clay body. The wall installations are slab constructed, cut into tiles that are mounted on wood panels. The freestanding sculptures are made using slab, extrusion and/or coil techniques. The size of the freestanding sculptures is limited by the size of the electric kiln.

    A: I love working in clay because I am not bound by the look of clay but can make it look like any material of my choosing whether it be clay, metal, wood, stone. There are a myriad of clay bodies to create with. I can use many different glazes and underglazes and the various techniques in glazing. While I am creating one sculpture, I am inspired to make a new sculpture, a variation of the one that I am working on.

    A: Each of my sculptures is one of a kind. If I am asked to make a commission, I only can guarantee that the commission will be similar to the one asked for. Each sculpture gives me ideas for new sculptures. I vacillate between wall installed work and freestanding sculptures. How can I translate the wall design to a freestanding design and vice-versa.

    A: My moments of wonder come when each piece that I currently am working on gives me inspiration for new sculptures.

    A: Having studied under Art Nelson and Viola Frey at the California College of Arts and Crafts, I was exposed not only to expert techniques by Art, but also the creative energy of Viola. I feel privileged to have studied with each of them. I am forever grateful to Art for having exposed me to his encyclopedic knowledge of clay, glazes, firings, technique, health and safety issues. I also am grateful to Viola for encouraging me to consider clay a material that was not limited to pottery making, but one of the many tools for making art.

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