Jeff Burgess

LSPS-LC Artist Jeff Burgess creates pottery with a meticulous eye. The artist draws from a wealth of visual experiences over his lifetime; blending design, architecture and film aesthetics into his creative practice.

Jeff Burgess (b. 1992, Grand Rapids) grew up near the west coast of Michigan. The area is well known for its furniture production; Steelcase, Herman Miller, Haworth. The Mid-Century aesthetic blanketed the city with pieces that were both beautiful and highly functional.

Jeff Burgess with a few of his one-off pieces

Burgess soaked in the design and vintage appeal throughout his childhood, as well as taking an interest in vintage films (like Stanley Kubrick’s “The Shining”). His initial thoughts for higher education revolved around becoming a director, until he realized he didn’t want to capture spaces, but create them! A bachelor’s in Architecture from the University of Michigan (2014) and a Masters from the Harvard Graduate School of Design (2018) followed in quick suit. Burgess’ thesis came together in multiple diaramas, featuring unsettling spaces (inspired by horror films) depicting the interior of a high rise in Brooklyn, NY. The artist used the highly curated scenes to challenge the viewer’s perceptions of space and reality. Since then, Burgess has held onto the feeling of unknowingly uncomfortable settings throughout his many creative explorations.

While studying in Boston, Burgess took notice of buildings featuring stark Brutalist influence. The movement, which originated in the 1950’s, used cement to highlight minimalist design, form and pattern. Boston City Hall (1968) was a prime example that impressed Burgess with its integrity of materials.

Burgess’ career involved employment within architectural firms, but he soon realized that the long hours and changing (or sometimes cancelled) projects wore him down. Jeff Burgess Creative (established 2024) is the artist’s own business, where he gets to design spaces for events, product launches and pop-ups. Working as the creative director lets him choose his projects, as well as see the fruits of his labor. Burgess is picking up more clients and hopes to expand his creative scope.

Burgess moved to Chicago for a job in 2018. Even though he had hoped to live in New York City, Chicago’s accessibility and people made him glad he stayed. He joined LSPS-LC in June of 2022. The artist had always wanted to try pottery, but his work/life commitments always got in the way. Burgess tried to enroll in the non-profit’s sessions, but had to wait for an opening. Penguin Foot Pottery was the start of his clay journey, and he quickly got a good handle on the material. Burgess credits his quick development in ceramics to his intense hand/eye coordination employed in making models over the years. After a stroke of luck, he joined the LSPS-LC intermediate because of his prior experience. The classes proved to scratch an itch he didn’t even know he had!

A recent piece with copper flaring (Raku firing method)

The self-described perfectionist finds his happy place in the 3-5 lbs throwing range. His ability to handle the clay at this size results in pieces that are more playful. He gets to obsess over the form and not the function (which he cares less about). His surface decorations tend to retain more subtle (but still dynamic) glazes. Creating new and different pieces of pottery each time, as well as trimming, really make him happy.

Burgess’ interest in film, architecture and design all bleed together in his pottery. Each inch of his vases (a favorite form) are created with cohesive vision. The forming of the lip is how Burgess perceives the rest of the vessel. Resolving details like the lip and foot help finished the piece so it is ready to hold space. Constant experimentation of shape and volume all have deep origin in Mid-Century forms, turning out familiar yet unique pottery. Burgess’ connection to unsettling spaces in film also play a strong roll in the pieces he thinks up. A recently created “Tulipiere” vase (popular in the 17th Century for displaying expensive tulips) appears both beautiful but strange. Upon further investigation, the viewer realizes some of the spouts are arranged at such an angle that water would leak out. That and the overall black glaze makes for an item that is both familiar but hard to place.

Burgess hopes to push his limits on the wheel to create larger work. He’s already eyeballed the studio’s kiln depth (24”) with intent. He credits his artwork height aspirations to being tall himself (6’5”), as well as having some troubles creating standard (small) mugs and vases due to hand size. Certain demos that instructor Meg Biddle has done are also on his list of things to try. Selling some of his one-off pieces is a next step as well. Burgess’ unusual home (painted and decorated in black and dark tones) is chock-full of work he’s done these past few years. A possible outdoor art festival this summer will give him the opportunity to sell and get constructive feedback from the public. Overall, the artist hopes to continue playing with shape, volume and design- as well as create work that is both unsettling and thought-provoking.

Article by Mieke Zuiderweg