JD Jorgenson

Bismarck, North Dakota native and Potter

Biography

JD Jorgenson, originally from Bismarck, North Dakota, began his passion for clay during high school. Feeding this passion, Jorgenson went on to earn his B.A. in Ceramics from the University of Iowa in 1999. After completing his B.A. degree Jorgenson moved to Minneapolis, Minnesota to teach and work at the prestigious community clay art studio, Northern Clay Center. Jorgenson is also a recipient of the Jerome Foundation Emerging Artist Grant at the Saint John’s Pottery in Collegeville, Minnesota. After Jorgenson’s grant period ended, he continued to work at the Saint John’s Pottery as the apprentice to renowned Ceramic artist, Richard Bresnahan. Jorgenson exhibits nationally and was a presenter at the International Symposium on Wood-Fired Ceramics at Northern Arizona University in Flagstaff, Arizona. Jorgenson lives in St. Joseph, Minnesota with his wife Sara, son Micah and daughter Ofelia.

Statement

“Using local clays and glaze materials in the pottery making process as well as recycled materials when possible is important to me.  I believe art is life and I express that by making pottery for everyday use in the home. My work is formed on wooden kick wheels involving the entire body, emphasizing breathing and balance. I draw inspiration from nature and my surroundings, incorporating them into the work. I believe that the line between functional work and art objects should be blurred. I strive to approach that line as often as possible by creating pieces, which through their everyday use, are also experienced as a ceramic art object. Wood-fired kilns have my primary method for firing my work. The majority of my pottery is unglazed and fired once to be more efficient and resource conscious. My specific interests lie in the raw clay, how its surface changes do to atmosphere, flame and ash to create a new form. Wood is not solely fuel to heat the kiln it is integral in transforming whatever it touches. Because of this the ceramic process quietly speaks to you through its record imbedded in the work.

I use black clay found 3 miles from our home and a porcelain body from a clay supplier. The pieces employ subtle brushwork, surface color and occasional slip glazing on simple forms. The relationship between the clays is important to me, sometimes complimenting, other times masking or overwhelming one another.”