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Nighttime starry blues, forest-floor greens and deep grounding reds depart from her previous light yellows and greens. A colourful addition is Star pillar, a cornflower blue celestial star pillar sitting gloriously, facing upwards to the sky. Although this was not an intentional shift in palette, Jenkins posits that she was drawn to these colours for their intensity and richness.",[898,901],{"start":899,"end":900,"type":854},82,91,{"start":902,"end":903,"type":854},325,336,{"type":18,"text":905,"spans":906,"direction":21},"Jenkins is interested in how she can translate her experiences of nature and natural forms into her ceramics. The artist feels “filled up by nature,” when she goes on a bushwalk, or dives into a water hole. These encounters with the landscape and its natural forms drive Jenkins to explore how to depict these experiences in her work.",[],{"type":18,"text":908,"spans":909,"direction":21},"To do this, Jenkins describes that when making, she aims to embody the same feelings, and then pours them into the forms she is constructing. Jenkins’ pushes her recreations of organic forms further with Brown Vine I (Straight) and Brown Vine II (Curved). Gentle vines with their petals and twisting, climbing tendrils are firmly planted to the wall, making the gallery their garden.",[910,913],{"start":911,"end":912,"type":854},204,227,{"start":914,"end":915,"type":854},232,254,{"type":18,"text":917,"spans":918,"direction":21},"The artist’s continual interest in the lineage of pottery is alluded to in the exhibition’s title. Jenkins’ practice examines this lineage not only in Aotearoa, but from ancient time periods and more recent ones. The artist is inspired by other ways of building throughout history, and in her own practice pushes to reimagine environments with her own versions of things to imagine ceramics of the past. Jenkins explores the intersections between ornamental and functional in these other worlds, and balances them in her own practice. Stone Shelf, Three Ledges and Star Pillar all have functions as furniture, however Jenkins’ twists alter the reality of the object we are used to seeing.",[919,922,925],{"start":920,"end":921,"type":854},535,546,{"start":923,"end":924,"type":854},548,560,{"start":926,"end":927,"type":854},565,576,{"type":18,"text":929,"spans":930,"direction":21},"Jaime has an Advanced Diploma of Visual Arts in Ceramics from Toi Ohomai, Bay of Plenty. 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Teetering on the edges of functionality and fragility, her works take on structural, organic and intricate shapes. Chains and bells are frequent subjects in Jaime's practice, objects that defy the brittleness of fired clay, and that create movement and sound. These sit alongside dense architectural pieces that can be used as stools, shelves and tables, or works that simply exist in isolation as large sculptures. Her practice moves constantly between these states: a heavy, floor-based piece might be followed by something light and suspended, as she works through the extremes of what the material can hold.",[],{"type":18,"text":997,"spans":998,"direction":21},"A core source of inspiration for Jaime is her experience of nature, which she translates into clay. Jaime speaks of feeling \"filled up by nature\" when she spends time in the landscape, such as out for a bush walk or diving into a water hole. Some pieces incorporate rocks gathered from favourite swimming spots, carrying something of that place back into the studio. The glazes and slips she uses are earthy and celestial, reflecting this deep attachment to the environment. Starry blues, forest-floor greens and deep grounding reds are some of the colours Jaime returns to.",[],{"type":18,"text":1000,"spans":1001,"direction":21},"She is also drawn to the long lineage of ceramics, both in Aotearoa and further afield, and to how other times and places have worked with this material. Cracks that appear through firing are often filled with resin rather than hidden, a small acknowledgment of fragility built into the finished piece. Up close, her work frequently carries the trace of her own hand: the imprint of a palm, the line of fingers pressed into a still-soft surface.",[],{"type":18,"text":1003,"spans":1004,"direction":21},"Jaime has an Advanced Diploma of Visual Arts in Ceramics from Toi Ohomai, Bay of Plenty, and has undertaken internships and residencies in Aotearoa and the UK, including with Laurie Steer and Francis Upritchard, and at Driving Creek Pottery in the Coromandel. She was the 2022 recipient of Dame Doreen's Gift from the Blumhardt Foundation, and received a 2026 Arts Foundation Springboard award. 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