Jien Ang is a potter based in Edmonton. He founded Studio Jien and makes functional ware with the intention of slow appreciation and communal enjoyment.On this rainy afternoon, we chatted with Jien Ang about embracing imperfections and creating subversively.
Growing up, I knew I wasn’t an artsy kid, at least when it came to drawing or painting. I explored different things until I got into pottery about 3 years ago. At that moment, something clicked, and I realized this is an artistic form that I enjoy and could potentially do well. It's the one creative outlet that I have found as an adult that I wish I had had the opportunity to do as a child.
Studio Jien was me jumping headfirst into pottery and trying to put myself out there. Now, I get to create things I love and provide them to people who see the value of what I make.
It happens basically once I’m on the wheel. I know what I’m going to do roughly; I get the form more or less in the way that it should be. From there, I start to fine-tune it. The great thing is that regardless of whether I am throwing on the wheel or trimming, each stage can change. I may go in with a certain vision at first, but then what I do after might deviate from that because it feels right. So, there’s no proper way for me to say here's the start, here's the end, because I move with each piece as I'm going through the process itself.
I'm slow and I'm intentional because I want to give 100% to what I make. And I don't want to get into the world of creating just for the sake of creating,
I draw inspiration from the Japanese wabi-sabi, where the aesthetic is as it should be. It’s interesting because, while that’s a Japanese term and belief, growing up in a Buddhist household instilled in me very similar values. Things are as they are. Things come and go as they come and go. Not holding on to things.
In terms of forms, a lot of what I make is around tea culture, one of my interests.
In the scope of pottery, it's not necessarily chasing perfection, but chasing individuality. It’s not to say that I'm letting the clay do its own thing, but I'm going in with the intention of embracing any imperfections that exist in them. If something happens, I say, “Am I okay with that? Can I work that into the piece that I want?”
I try to use that as my basis when I create. My output may not necessarily yield exact matches, but there will be some level of relation, and similarities can still exist. It’s like you and I aren’t the exact same. There may be similarities to us, but we are our own person. So, I want that to reflect in what I make.
That's tricky because every stage of it brings some level of enjoyment or joy, really. Maybe it’s the end product. To see it coming out of the kiln in one piece, and to see a lump of clay taking a new form, is very special. But truly, my most favourite part is the connection I get to make with people when I sell at markets. Even if they don’t purchase, it's the fact that they showed genuine interest, picked it up, felt it in their hands, talked about it with me, that I think is great.
As humans, we are communal. As an introvert, the things I make are a way for me to engage with people and community.
Pottery has existed throughout the ages, and because people treasure the things they own, we get to see them in museums today.
It’s a little ambitious, but I hope to create a little seed for people to think about what they’re buying, to appreciate what they’re buying, and hopefully hold on to it for a longer period of time.
Pottery has existed throughout the ages, and because people treasure the things they own, we get to see them in museums today.
It’s a little ambitious, but I hope to create a little seed for people to think about what they’re buying, to appreciate what they’re buying, and hopefully hold on to it for a longer period of time.
I do. It’s taken a while for me to get to the point of appreciating, choosing, and purchasing items, not just for the current moment but for the relative long term. Emphasis on the word “relative” because sometimes your sense of style or vision of who you are can change quite quickly.
Regardless, my process as of lately has been very intentional. I try to buy and wear pieces that are likely to stick with me for a while.
I’m into Margiela, Loewe, Jacquemus, and especially Studio Nicholson and Margaret Howell. Comme des Garçons is great as well. It mostly depends on what the designers put out, but the aesthetic of Studio NIcholson and Margaret Howell matches who I am right now and who I want to continue to be.
I love that their garments have fairly simple silhouettes and minimal branding. It’s understated, yes, but there’s a bit of play to it that keeps things interesting. It’s a different kind of in-your-face.
I would say so. My style ultimately translates into my work and vice versa. Both have the quality of being simple and elegant, yet still functional and make a statement. With my clothes, I want to be able to wear them out, on vacation, or on daily errands. The same goes for my pieces when I talk to people about them. I like to call it “choose your own adventure” - you want to drink tea out of it? Sure. Alcohol? Go wild. Ice cream? Whatever you want to do, you can do it.
So overall, I think that they have a very close connection, and that's because it's who I am, right?
Jien Ang styled in garments from Comme des Garçons, Maison Margiela, Thom Browne, JW Anderson, Opening Ceremony, Lanvin, Neighborhood; Footwear from Maison Margiela; Miu Miu; Handbags and accessories from Comme des Garçons, Givenchy.
Shop the collection below:
