Jasmine Spitzer-Smith

Jasmine is a Bay Area artist originally from Fort Lauderdale, Florida. As a child of diaspora, Jasmine utilizes the transformative qualities of clay to create designs to investigate and strengthen the connections to her roots in West Africa.

When I met you we discussed your recent move to the Bay Area from Florida. What part of Florida are you from? And what brought you to the Bay Area?

I grew up moving all around South Florida, in my last few years there my main home was Fort Lauderdale. San Francisco called to me when a friend of mine at the time moved here. I couldn’t deny the opportunity when she found an apartment and a solid job for herself and I. Not only did I want a change of scenery but I felt more opportunities for my art in a city like San Francisco.

What kind of job did your friend find for you?

When I arrived to the city she helped me sign up for Wag, an app that allows pet owners to request walks for their pups at anytime. It was a great way for me to explore the city and get a good exercise. I was walking over ten miles a day at one point. Nowadays, I spend more time in the studio, working on my art and teaching classes; but I still walk a few special pups I’ve taken care of since moving.

Has the change of location affected the way you work?

Moving to the Bay has definitely changed my artistic process, mentally and physically. Removing myself from the familiar home I’ve always known to completely new surroundings has opened my mind to a lot more possibilities. I feel like I’m thinking more out of the box and putting myself out there more than I ever would have. The change has also given me better structure in my life. Squeezing in work, plus making art, as well as having a social life was one of my biggest struggles moving here (and still is at times). I map out studio time and try to enjoy being in the moment, in whatever I’m doing.

Where do you make your work? Do you have your own studio or a shared space?

I have my own work space at SMA Art Gallery and Studio. Everything else, like kilns, wheels, glazes, and a whole bunch of other fun stuff is shared with members of the studio.

What is your artistic background? How did you get into ceramics?

I’ve always been drawn to the arts, and my mom has always made sure I was kept busy. As an only child my main form of entertainment was making arts and crafts. Figuring out a new skill such as drawing or knitting always fascinated me. Once I felt proficient enough in whatever had my attention I was on to the next; but when I came into ceramics there was no “next”. I knew this is what I wanted to do and nothing else mattered.

In high school I swore I was going to be a fashion designer. I bought a sewing machine with my first paycheck and even took a summer sewing course at the Art Institute in Fort Lauderdale. My dream was to go to the Fashion Institute of Technology in New York after high school. Then my senior year came around and I decided to take sculpture as my elective. I loved working with clay and trying to figure out the wheel. When I graduated I took ceramics at my local community college and it was a done deal. I loved the atmosphere of being in a pottery studio and the community that comes with it. Everyone is helpful and supportive of each other. When it came to fashion I knew I wasn’t cut out for the competitive, and at times, catty world. With ceramics I feel like I can be myself, and make art for myself, and express concepts and ideas I don’t think I could ever get across with fashion.

​Your ceramic pieces have clear visual ties to West African art. What is your connection to West African cultures and art forms? How do you incorporate these connections into your work?

My Jamaican ethnicity ties me to West Africa. My father and most of his family can be traced back to the African slave trade. Living with my mother most of my life, who is of Irish descent, separated me from my African roots. I use my pieces to reconnect to my culture and I aim to revive and celebrate this heritage with other children of the diaspora. The pieces I’m focusing on right now are inspired by tribes and cultures located in West African countries like Ghana, Nigeria, and Benin. There is an abundance of thriving, unique identities and heritages part of me that I don’t know about, I know I’ll never stop discovering and exploring.

What other sources do you turn to for inspiration in your work?

Pottery is an ancient craft. Civilizations all over the world have made and used pottery in their everyday lives, and still do. I love to search library archives for beautiful, delicate Chinese porcelain wares as well as the detailed sculptural pieces of the Maya. I also take inspiration from random objects I find or see passing by. I could stumble upon an interesting looking bottle in someone’s home and it just might be the start of a whole new line of pieces

Your website and online store is called Ashe Ceramics, how did you come up with this name?  

Ashe is everything, the air we breathe, the water we drink, the words we speak, the emotions we feel. Ashe is energy, the essence of everything created. The term originated from the Yoruba, a group of people located in Nigeria, Benin, and Togo.  I chose the name to keep into consideration that each piece I make is created with my own ashe. My energy, inspiration, and intentions fill each piece connecting me to those who have one of my works of art.

Ceramics is an art form that often gets relegated to the realm of craft because of its functionality. What is your perspective on the line between art and craft? How do you define it and where do you think your work exists on the continuum between art and craft?

Often times artwork is not considered art if it is “functional” but I believe the functionality of my pieces play a large role in what makes my work art. I originally created Ashe Ceramics as a home goods line (incense burners, planters, and mugs) because I wanted my pieces to be a part of a process of rejuvenation and meditation for the individual who has my work. I find the functionality completes the essence of a piece and becomes tied to the owner when they engage in its use. Not only do my pieces hold my ashe, and are ashe, but they breed ashe when used in the context they were created for. You’ll never be as close to art than having it sit in your hands filled with warm tea, or fill a room with incense. It’s a vehicle for transformation.

Where does the functionality of the piece come up in your process? Do you begin with the function and build from there or do you have a shape or form in mind and figure out the functional details later?