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*Please note, this artwork is being represented directly from Jeanette's studio in France and therefore deliveries to all addresses are stated as 10 working days from purchase. Import taxes may be applicable to different destinations and if so will be charged via customs on import, they are not included within the purchase price however the delivery costs to any worldwide destination is. If you would like to check on delivery timings or would like help finding out about import tax, don't hesitate to get in touch.*





H. 23 x dia. 20 cm



About Jeanette Nguyen

"Just outside Paris, where I live, millstone houses dominate the landscape. And yet, there are pockets of nature to be found from trees whose blossoms colour the streets pink or white in spring, and a little while later little explosions of red dot a background of urban yellow and beige: poppies that pop up wherever they want. I capture these little niches of nature in an urban setting in a vessel of black stoneware."


"Using a combination of building and surface decoration techniques, I incorporate an element of delicacy in my pieces, be it imagery, structural, the glaze or the making and firing process, while still ensuring the pot is functional: it should be sturdy enough to use. I want to show that this delicacy or fragility can also be strength and confers a piece its strength."


"I am originally trained as a scientist, studying the fluid dynamics of biomaterials in Amsterdam. While working in education in Paris, I signed up for wheel throwing in stoneware and porcelain classes and was hooked. Eager to learn more about ceramics, I also followed multiple workshops in raku-firing and in different aspects of ceramics, while improving my skills and finding my style. A couple of years ago I took the plunge and now dedicate my time to making ceramics professionally in my home atelier."



Artist Q&A

What’s been the biggest challenge in your work?

J: The biggest challenge in my work is finding a way to combine my seemingly opposing aesthetic interests: I am inspired by the more rustic, imperfect and organic Japanese aesthetics but also due to my background in science, I have a love for geometric patterns that tend to be more regular and can be more sterile looking. I am constantly trying to create pieces that juxtapose these two elements, sometimes it works, and sometimes not, which brings me to another big challenge on par with the previous one: letting go of pieces when it doesn’t work.


Do you listen to anything as you work?

J: I listen to Motown music during wheelthrowing and for the more finicky work such as carving or the kintsugi process I listen to French shows to improve my French listening.


Do you plan each piece in advance or do they develop intuitively?

J: It is a combination of both. I start with a rough idea of what kind of piece I would like to make and leave room for improvisation and deviations during the making process.


19. Tell us more about your recent series, when did you begin this and how has it developed?
J: I began working with engobes, slips and image transfers beginning of this year when I saw art work by Beatriz Milhazes and I admire her use of vivid colours, imagery and patterns. I started monoprinting blocks of colour to see what works together and took a workshop on silkscreen printing to learn more about the technique to adapt it in clay. I was very eager to incorporate more vivid colours and images in my pieces, contrasting to my ‘regular’ pieces that are more earthen or metallic toned. One of my first ‘new’pieces is this vase with poppies and blossoms. I have several other pieces in the pipeline and at different stages of the make: images waiting to be made into silkscreens, bisques waiting for their images, and several ideas still ruminating in my head.

Poppies | H. 23 cm | By Jeanette Nguyen

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