Recent works by Jane McBurnie
Not many viewers would immediately realise that the life-size self-portrait figures in Jane McBurnie's recent exhibition were other than well modelled sculptures. However, on closer scrutiny, when the surface is gently tapped for instance, it becomes apparent that these large scale figures are in fact ceramic, raku vessels; cast, dried and fired in specially constructed kilns, built to accommodate the variously postured figures. The technical accomplishment of this alone would make it an admirable show, but why, one may ask, should the artist wish to engage in what would seem to be such an elaborate process, fraught with difficulties? The fact is that the process itself has made them eminently suited to the sculptor's purpose. Employing ceramic methods in this manner seems to signify that these figures are vessels, containers. Their apparent solidity belies their essential fragility. It emerges that recently the sculptor has immersed herself in the intricacies of self-taught Jungian analysis, and in particular recording and interpreting her own dreams. The five sculptures mark the critical points of change, as experienced by the sculptor herself, in the process of individuation, or self-discovery. According to the artist she attempted to associate them with the major Jungian archetypes; Persona, Animus, Shadow, Self. Linking the changes with the archetypes, she created figures in her own image-not only confronting her own naked self (literally as well as figuratively) (we are reminded of Lacan) but eventually also the viewer. It appears she does not ask her audience to participate in the process, rather she prefers exposure and acceptance.
In Identity, connected to Jung's Persona, an unpainted terra cotta figure lies on the ground, literally paraphrasing the base position of the process. Recognition, associated