In her day job, Jane Holly Estrada is a radiochemist, dealing with a concept — radiation — that many people rightly or wrongly associate with loooooooooong periods of time.
But when the white lab jacket is hung up at Pacific Northwest National Laboratory for the day, Estrada focuses strongly on the ephemeral, the temporal — fleeting moments of transitory time in which she captures a moment in nature and transforms it into a state of permanence.
Working in the field of ceramics, the Richland, WA, artist creates jewelry and shaped dishes inspired by the leaves of trees, but not just any leaves. Estrada’s window of time is a short one in autumn, after the leaves have fallen off the tree naturally but while they are still crisp enough to leave a literal impression upon clay.
“Each dish I make is created by pressing a real leaf into the clay and shaping it into a unique small dish, which is then painted with watercolor style underglazes,” Estrada explains.
“The dish is then glazed all over, fired, and painted with real gold and white gold accents.
“The final product is a mirror image of the now long-gone leaf, but embellished with swirls of color, texture, and metallic gilding.”
Set in a few clear sentences, the process seems straightforward and direct, but as with any area dealing with chemical and physical alteration — whether the matter has to do with art, science or a fusion of the two — things just aren’t that simple. Stuff happens.
The biggest challenge of working with clay, Estrada says, is that no matter how careful the artist is during the process, there’s always a chance for the unexpected to occur. Work can crack if it dries too quickly, or even if it is gently bumped at the wrong time.
“Each trip through the kiln is a chance for cracking, warping, and even exploding,” Estrada adds. “Glazes can run, crawl, craze and drip — all things that can either ruin your work or make it amazing.
“Most of my pieces go through the kiln three to four times, each time a gamble.”
The upshot of it all is that even the most scientific of approaches can’t guarantee the outcome, but like life itself, that’s part of the challenge.
“The benefit is that if your work survives its creation process, it becomes a durable and lasting piece of art in a way that a more ephemeral piece of paper or canvas cannot compare,” Estrada observes.
“Clay allows the artist to create a functional object that is equally an object of beauty.”
Estrada’s leaf-based clay dishes and jewelry imbue familiar colors of forest, sky, and water– azure, turquoise, teal, beryl, emerald, verdigris, moss, jade — with gold and silver sparkle, resulting in an alchemy of Mother Nature with human skill and ingenuity. The finished pieces are delicate yet strong, possessing a tactility that encourages viewers to pick up, touch, hold, turn, brush, and feel.
Because each piece is fashioned from one single, unique leaf, Estrada’s artworks are literally one of a kind at the same time that they work well together as a set or a collection — in the same manner that leaves gather while retaining their individual attributes, as well as that of their creator.
“I am not a production potter, and I (like most artists) am not looking to compete with the factories and big box stores,” Estrada says.
“My goal is to create small pieces of beautiful art that people can have in their daily lives. My jewelry is meant to be worn and the dishes to be used.”
In addition to her ceramic leaf works, Estrada also paints mandala stones — smooth surfaced rocks embellished by a series of dots and color in a circular pattern. Estrada teaches the technique at Confluent, a non-profit organization in Richland that provides space and resources for community members to explore art, technology, and culture through community-based workshops and classes. She also participates in the center’s various art shows, and in the recent “Dreamers” exhibition won Best Overall piece in a public vote for her wood-substrate painting executed in the spirit of vintage post cards.
Incorporating art and science, temporal aspects and immutable, nature and fabrication, Estrada’s works are inspired by her love of water with its shifting shape, color, and ability to reflect light. And while she does not aim to make a statement, she believes that the final product is the statement itself, standing out for the time and detail that go into it.
“I’ve always loved science and trying to understand how the natural world works,” Estrada says.
“I believe that this shows through in my art.”
Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail firstname.lastname@example.org. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.
Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists. Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!