Alright – so today we’ve got the honor of introducing you to Jenneva Kayser. We think you’ll enjoy our conversation, we’ve shared it below.

Jenneva , looking forward to hearing all of your stories today. What’s the best or worst investment you’ve made (either in terms of time or money)? (Note, these responses are only intended as entertainment and shouldn’t be construed as investment advice)

For years, as I worked other jobs, I put aside all the income from art sales. When the opportunity finally came to set up my own studio, I had enough saved up that I was able to buy my own kiln, and a set of really nice full shelves to put my artwork on in the kiln. Though the kiln shelves I bought were super pricey, they are perfectly flat, so none of my sculptures will ever warp or crack. It felt like a big leap to buy this expensive equipment, but I realized that if spending the money up front on the best quality shelves meant that even one sculpture didn’t fail, it would be worth it and then some. As an artists we often have habits of being thrifty and making do with little, and those habits can serve us well especially when getting started. But there comes a point where spending the money on the right tools can save you so much time, money and stress down the road.

Jenneva , love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am a sculptor working primarily in clay. In undergrad, I asked a friend who the best professors were in any department, and she suggested I take a sculpture class that ended up changing the trajectory of my life. I’ve been working in clay ever since, as a teacher, potter, and now sculptor. I’m inspired by the way that the way my clay and glazes crackle and melt in the kiln can suggest geological forces on earth and on distant planets. My works evoke wind patterns, shifting sands, and melting glaciers. Other pieces explore the effects of climate and time on our cities and homes. While I sometimes work in other media such as fibers, I do love the moment of anticipation when you put your hand on the door of a warm kiln, wondering what magic has happened inside.

I recently relocated from out west to Michigan, and was able to set up my own studio. I offer private pottery lessons in wheelthrowing and handbuilding in my home studio in Ypsilanti, MI, and I exhibit my artwork in galleries and through my online shop. I love seeing the works installed in people’s homes and businesses. My “Planet” series hang on the wall, a semi-sphere that makes for an eye-catching statement piece in lieu of a flat painting or photograph. The durability of ceramic sculptures also works well in designs for kitchens, bathrooms, and outdoor spaces where the artwork may be exposed to water. I love when collectors come back for additional pieces and begin composing their own vision in their space, making arrangements with the different sizes of “planet” sculptures.

Let’s talk about resilience next – do you have a story you can share with us?

Ceramics can be a total heartbreaker. It doesn’t matter whether you put five minutes or five hundred hours into a piece, once it goes into the kiln, any technical flaws in the piece can cause it to shatter, warp, crack or melt. It is a practice in humility and patience. I believe I’ve grown my tolerance for difficulty and failure by pursuing this path, and while I will still wince when I open a kiln to a disaster, it doesn’t take me that long these days to be ready to give it another try. During the covid pandemic, my husband and I lost our jobs and by extension, our access to the art center where we made our artwork. We had just had a new baby, and I ended up relocating to a new city where we didn’t know anyone during lockdown. It was a brutal time. Still, I was determined to make my artwork, and when my attempts to get plugged into local studios at first didn’t work out, I ended up setting up an Ikea kitchen island in hallway of our one bedroom apartment, storing clay in my bathroom, and putting a potter’s wheel on my back porch. I managed to produce two solo shows over the next year, working during my daughter’s naptimes and in the evenings. It wasn’t easy, but it taught me how determined I am to make it work.

What’s the most rewarding aspect of being a creative in your experience?

I love having control over how I spend my days. I often have students say, “I shouldn’t have been a nurse/translator/college admissions counselor/marketing manager/etc, I should have been an ARTIST!” and perhaps they are right, though I think they would be surprised by how much of my time I spend sending emails, working on applications, submitting photographs and artist statements and various other administrative tasks. So, there is an element of what I do that is just work like any other job. But, after I take care of those things, I can take a walk, I can take a nap, I can go down into my studio and tackle a new big project or just tinker with little ones. There’s no one telling me what to do, which means all the structure and motivation needs to come from me, and from the deadlines and opportunities I seek out for myself. No one pays me for my sick days, but on the other hand, no one insists I work when I’m ragged and tapped out. And being able to be present and involved with my daughter is huge, I’m so grateful for all the time I’m able to devote to family.

Contact Info:

• Website: www.jennevakayser.com
• Instagram: @jennevakayser

Image Credits
Outdoor installation shot: Lisa Olsen, Practical Art, Phoenix, Arizona