2022 | Ferrin Contemporary | North Adams, MA

featuring the works, Back Flow and Bristlecone, by Jason Walker.

Our America/Whose America? Is a “call and response” exhibition between contemporary artists and historic ceramic objects. View the historic collection here.

Back Flow

porcelain, underglaze, glaze
10.5 x 1 x 10.5″


porcelain, underglaze, glaze
10.5 x 1 x 10.5″

You May Think You Are Alone…

God Dam



Additional works

Jason Walker Artist Portrait, 2019

American, b.1973, Pocatello, ID
lives and works in Cedar City, UT

Jason Walker’s ceramic sculpture question how we perceive and decipher technology and nature within our changing world. He has exhibited and taught widely including at the Renwick Gallery at the Smithsonian Institution in Washington D.C., Haystack Mountain School for the Crafts, Penland School for the Crafts, Anderson Ranch Arts Center, The Pottery Workshop in Jingdezhen, China and the International Ceramics Workshop, Kecskemet, Hungary, South Korea, Ireland and France.

Walker has been awarded a 2009 NCECA International Residency Fellowship and a 2014 Artist Trust Fellowship from Washington State, as well as the Taunt Fellowship award at the Archie Bray Foundation for the Ceramic Arts. His work is included in collections at the Fine Art Museum of San Francisco: De Young, the Carnegie Mellon Museum in Pittsburgh, Pennsylvania, the Arizona State University Art Museum Ceramic Research Center, Tempe, Arizona and the Portland Art Museum in Portland, Oregon.

Walker received a BFA from Utah State University and a MFA from Penn State University and is represented by Ferrin Contemporary, and currently resides in Cedar City, Utah and is Lecturer of Ceramics at Southern Utah University.

Jason Walker, “Bloom”, 2019, porcelain, underglaze, china paint, 26 x 26 x 9″. Installation view in “Personal Encounters”, solo exhibition at Ferrin Contemporary, 2019


The culture I live in does not emphasize our physical connection and dependence on nature. The current ideology is reliant upon technology, and it promotes disembodied activity such as television [and] computers . . . The gap between man-made and natural is ever increasing.

Light bulbs, plugs, power-lines and pipes that grow from the earth are common images found in my work, juxtaposed with birds, insects, and organic matter such as leaves and trees. Similar to the thinking of the Hudson River School of painting, I attempt to portray nature’s vastness and human-kind as a small proponent of it. Yet I draw the small things of nature large and the huge creations of man small. I want to show how we influence the landscape, or nature. My ideas stem from my own experiences bicycle touring, backpacking and the daily hikes I take with my dog.

In an attempt to explore the methods of early American artists, such as Moran and Cole from the Hudson River School of Painting, I went to an American ‘wilderness’ and backpacked solo with my sketchbook for ten days. The landscape, plant and animal imagery are records from my experience in the Grand Staircase – Escalante National Monument in the desert of southern Utah. The technological imagery is a record of objects in my everyday experience and is used to express the way in which technology has influenced our perceptions of nature.  I developed a narrative based on the historical progression of our changing perceptions of ‘nature’ and ‘wilderness’ in America.  I titled the show ‘Nature Seeker’ because I think we use term nature very loosely in our language today, and as I hiked I felt as though I was seeking a place or an object that embodied the word nature. According to Webster’s dictionary, nature is something in its essential form untouched and untainted by human hand. So here lies the crux of my quest. At the very heart of our own description of nature we exclude ourselves from it. Does this mean I am not natural? Although this argument may seem purely semantic it is not. The way in which we perceive nature inadvertently describes the way in which we perceive ourselves. Ultimately, my quest is a journey to define for myself what it means to be human in the present time.  – Jason Walker



REVIVE, REMIX, RESPOND The Frick Pittsburgh 7227 Reynolds Street, Pittsburgh Group show of contemporary artists who are breathing new life...

Jason Walker: Two Solo Shows

Jason Walker’s two solo exhibitions are on view in Bellingham, Wash., and Pittsburgh, featuring recent constructions and selected individual sculptures…

Bridge 13: Jason Walker

Published by the Society of Contemporary Craft in conjunction with his exhibition “Bridge 13: Jason Walker.” The brochure includes biographical information,…

Jennifer Ling Datchuk, "Live to Die", 2019, 40 mats, Custom-printed red welcome mats and porcelain, each mat is 30.5” x 22”
Left :

"Cumbrian Blue(s), New American Scenery, View of Albany, New York No: 2", 2019, 11 x 11 x 1", in-glaze screenprint (decal) on salvaged Syracuse China with pearlware glaze.


"Cumbrian Blue(s), New American Scenery, Belle Island Bridge, Detroit", 2019, 11 x 11 x 1", in-glaze screenprint (decal) on salvaged Syracuse China with pearlware glaze.
er squares[2]
RAYMON ELOZUA: Structure/Dissonance
Michelle Erickson, "The Party's Over", 2018, Slipcast porcelain, artist’s designed ceramic transfers, overglaze, hand painted gold enamel and luster, 14 x 18 x 2"
Momoko Usami, "Rock of Anger (Consequences)", 2022, porcelain, 11.25 x 11.15 x 1.5"
Jacqueline Bishop, "The Market Woman's Story - 14", 2022, digital print on commercial porcelain, 8.75 x 12.25 x 1". Photo courtesy of Jacqueline Bishop / photograph by Jenny Harper.
Niki Johnson, "Fitting in with the Squares", 2019, porcelain, Norman Rockwell commemorative plates, wood, 67 x 47"

BRIDGE 13: Jason Walker

This brochure, published by the Society of Contemporary Craft, includes biographical information on Walker as well as an essay by William L. Fox, Director of the Center for Art + Environment, Nevada Museum of Art, Reno, Nevada

Click here to view.