JD Jorgenson, originally from Bismarck, North Dakota, began his passion for clay during high school. Feeding this passion, Jorgenson went on to earn his B.A. in Ceramics from the University of Iowa in 1999. After completing his B.A. degree Jorgenson moved to Minneapolis, Minnesota to teach and work at the prestigious community clay art studio, Northern Clay Center. Jorgenson is also a recipient of the Jerome Foundation Emerging Artist Grant at the Saint John’s Pottery in Collegeville, Minnesota. After Jorgenson’s grant period ended, he continued to work at the Saint John’s Pottery as the apprentice to renowned Ceramic artist, Richard Bresnahan. Jorgenson Pottery was established in 2004. Jorgenson has been developing classes, workshops and other opportunities at his studio since then. He also presented and exhibited at the International Wood Fire Conference at Lake Superior College in Duluth, MN 2007. In 2008 he established The Wood Firing Exchange. The long term goal of the Wood Firing Exchange is to develop an international exchange program for wood firing opportunities and ceramic arts residency. It is and idea based on sense of place and community. He is a founding member of Avon Area Arts and was the President of the organization from 2009-2011. Jorgenson, was also the Red Wing Collectors Society Foundation Award recipient for 2011. Jorgenson also has a website you can check out: www.jorgensonpottery.com
"What is unique to me about these dug clays is it defines the region from where they were dug. They have had an evolving sense of place for millions of years. The clay is minimally processed which I find very appealing. I also fire between cone 6 and cone 10. We have been firing our 3 chamber noborigama style kiln in ways that match the clay we have been digging. The clay we dig has nice color from mid range to high temperature firing and reduction cooling process. Most of the pottery in the first chamber was buried in charcoal for 3 days of the firing. The second and third chambers fire between cone 6 and 10 with a number of hours of reduction cooling when the proper part of the firing is finished. My hope is to continue to approach the results and process associated with the Nanban, style. This allows for the clay to share its voice. I strive, everyday to have an intimate conversation with these materials, one that compliments and not speaks over their voice."