©Light in' Mater

Where stories and clay quietly meet

LiM speaks on several levels.

At its simplest, it names a gesture: the search for light within matter. In clay and in language, the work becomes a form of lighting, an attempt to reveal what already resides, expectantly, within earth. The apostrophe in in’ marks this movement: not only “light in matter,” but the act of “lighting” it from within.

At a deeper level, Mater—Latin for mother—evokes both matter and the Feminine, the generative, containing principle often neglected or obscured. The work turns toward this inner figure as a presence to be encountered, listened to and shaped by. The small apostrophe in in’ may also be seen as a spark, a point of origin, a hidden seed of fire within the gravity of matter. What emerges, through both writing and ceramics, is a practice of attention: a way of recognizing signs, forms, and resonances through which the feminine becomes visible again.

LiM thus becomes a unifying term for this body of work across its different expressions—writing, painting, and fired clay. It is both a principle and a practice, and the title under which future exhibitions of this work will take shape.

With the fire

After more than twenty years in Japan, Jack found himself drawn to the language of clay, fire, and form.

In this interview, he reflects on a journey where teaching and craftsmanship converge. Shaping clay becomes a mirror of the inner work, and the kiln a space of transformation, where matter and psyche are both tempered.