Janly Jaggard
Finding A Way

May 26 - June 17, 2023

Paintings and vitreous enamels

A series of paintings and vitreous enamels that evolved as the primary wave of the pandemic overwhelmed me. I struggled to find reason to work in my studio while the world appeared to lose all reason and structure around us.  

Artist Statement

Robert Ryman, the American artist who is known for iconic monochromatic paintings simply wanted to know “what paint will do” and what better reason could there be to ask that question.  

I am a painter and an enameler who investigates the technical differences that occur between these mediums whereby creative processes and materiality are the focus. I begin with some basic compositional plans, sometimes using a loose reference to the landscape. I build layers that either partially or completely obscured but sometimes I want layers to be revealed. 

These three mediums that allow me to explore technical and aesthetic possibilities as I work towards trying to make clear sense. I draw or sgraffito through layers of wet paint or dusted enamel working towards an outcome whereby  the result is about  dialogue between me and the work. I try to rely on intuition reminding me to recognize what the work seems to “need.” I have always felt that Richard Diebenkorn explained this concept best when he referred to the notion that the work seems to “breathe independently” when nothing to needs to change.

Vitreous enamel is powdered glass that is applied in sections and layers, sometimes using stencils with each color requiring a separate firing. The maximum size copper plate I can use (12”x12”) is determined by the size of my kiln. The process of enameling offers “what happens if….?” opportunities but also has several limitations. In contrast, working with oil or acrylic paint on canvas or panel allows me to choose the size of the work and each brushstroke is exactly as I make it; nothing changes those choices or my actions because the work is always under my specific control.  However, a copper or steel plate dusted with vitreous enamel has multiple kiln firings at 1500F and is out my control while the work is subjected to extreme heat. Only experience teaches me the probable outcome. My intuition must be the judge as I work towards completion but I’m always mindful of the enamel being overworked. 

This body of work began in 2022 when covid was hanging heavily in our minds and hearts. Finding a justifiable reason to work in the studio when the world was falling apart was especially difficult, but the sense of Reclaiming is hopefully reflected in the work.

Biography

Janly Jaggard is British but has lived in Virginia since the early 90’s. She earned her undergraduate degree in Ceramics from West of England Collage of Art in 1971 and a master’s degree in fine art: Painting from Norwich University of the Arts, England in 2015.

She has been an art teacher, lecturer, and instructor for most of her adult life, simultaneous with her practice as an artist. She has taught drawing, painting, sculptural ceramics and vitreous enamel at Beverley Street Studio School in Staunton, Virginia since 2001.

Janly has exhibited her painting and enamel work both nationally and internationally as well being included in several private collections.

Website: janlyjaggard.com
Instagram: @janlyj