Jeanette Adrienne Wee revels in clay work for two reasons. Firstly, making good art requires a synthesis of art and science. Secondly, what one makes with clay reveals a lot about their mental state. “In that way, it is like a mirror of ourselves, always evolving as we do,” the ceramicist says. She creates everything from functional wares like teapots and vases to standalone sculptural pieces.
Studying under Singapore’s most eminent local ceramicist Dr Iskandar Jalil for more than three years laid the ground for her technical foundation and the way she thinks about process and purpose in her practice.
Wee now has two ventures. Under her eponymous Jean Adrienne label, she creates personal and decorative pieces, and accepts private and commercial commissions. She has even created ceramics for the Bhutanese royal family and custom projects for collectors.
In addition, she runs Studio Tomo, which she launched a few months ago for classes and creative development.
Although there has been an increasing interest in pottery, several challenges still plague the practice in Singapore, Wee makes plain. The lack of adequate space and infrastructure is a critical issue. Pottery requires kilns, storage, ventilation, and room to fail when the clay develops problems, defects, or breaks, but these can be pricey and difficult to acquire when one is starting out.
Striking a balance between creative work, teaching, and livelihood is a gruelling challenge as well. “I’ve had to learn to pace myself, protect time for reflection, and view growth not just in commercial terms, but in how meaningfully I can contribute to the craft’s ecosystem here as well.”
But she acknowledges that there are fewer stumbling blocks now than when she first started in 2010. It helps that there has been wider recognition for both the labour behind artisanal goods and the philosophical lessons that clay-making offers. For instance, a process that is inherently slow cannot be rushed, Wee says. Also, that failure isn’t always a bad thing.
“The practice has taught me to let go of outcomes that don’t go my way, understand why, and start over and do better.”
Jeanette Adrienne Wee on philosophical lessons in pottery
In her capacity as a prominent Singaporean ceramicist, Wee advocates for a deeper appreciation of the clay-making process. Specifically, she hopes that the focus on the strict discipline required is amplified and that the practice remains relevant through new methods. Rather than just preserving the practice, she argues, it should be made to evolve through education, collaboration, and even stories.
Doing her part involves shifting traditional pottery ideas in several respects, like offering an alternative take on perfection. While pottery is often associated with symmetry and refinement, she does not shy away from producing off-balance, textured, or imperfect pieces.
Furthermore, she promotes the idea that ceramics need not be functional or serious. Despite honouring traditional disciplines of form, proportion, and glaze, she believes that the practice can be playful, character-driven, and emotionally expressive. Some of her works were created with the aim of making people smile, connect, and reflect while shining a spotlight on craftsmanship.
Lastly, she modernises the way in which pottery is shared and experienced through Studio Tomo. “It serves as both a workspace and community, which allows me to make practice more accessible and conversational—a place where people can learn, play, and appreciate the craft beyond just the finished product.
“It isn’t about breaking away from tradition, but keeping its spirit relevant in the way we live and create today.”
Photography Mun Kong
Art direction Ed Harland
Hair Jenny Lee, using Organethic Pure Care
Makeup Rina Sim, using Chanel Beauty
Photography assistant RJ Teo
