2022 brought multiple shows connected to NCECA which was held in Sacramento, CA in March.

Relics and Rebirth with my Bay Area Claymate girlfriends was a beautiful show @ Sacraments Fine Arts Center. I exhibited my Circe inspired goddess work including Persophone and the Promise, Unearthing Artimis and multiple Goddess Sippers and urns.

I was honored to be part of a show at Trax Gallery in Berkeley featuring artists that had previously shown there over the last 30 years called Sprouted Roots.

I also participated in several shows at the wonderful Schaller Gallery in Michigan that carries my work including fun show - Sushi, Saki and Tea in December and the beautiful Painterly Show in May.

The summer found me in Woodstock, New York working at Byrdcliffe. This is an ancient community studio with facilities for throwing and firing in a gas cone 10 reduction kiln. It was a challenge but I threw all summer, attempted to understand what was happening in the kiln and had a blast!

What a crazy year. My feelings show in my work. My piece UNRAVELED is a great example. It speaks to my state of mind!

This pandemic year has given me the opportunity to do work for some fabulous virtual shows at Shaller Gallery and Eutectic Gallery. Most of the images in this gallery are from those 2 shows.

Roscoe Gallery, Oakland, CA October 4- 26

In this show I attempted to integrate the 2 mediums that I am passionate about - textiles and clay.

Review from East BAy Express (Oct 23,2019)

Art is both illusion and object, style and content; it’s a kind of aesthetic Schrödinger’s cat. Josie Jurczenia’s witty 2D/3D works combine clay, textile paint, felt and thread. They take the form of flat representations of single vessels patterned with stripes and grids, juxtaposed with simulated felt ‘paintings’ hanging behind them, like projections; or standing couples, similar but different, with white and black connoting light and shadow. Jurczenia’s hybrid works thus hark back to both the floral painting tradition of trompe-l’oeil seventeenth-century Dutch art and to the light-hearted spatial paradoxes (trompe-l’esprit) of twentieth-century Cubism à la Picasso, Braque and Matisse: trick the eye and trick the mind. “White Stripes” with its twin amphora forms united by paint rivulets; “Echo,” with its dual protagonists united by a double-grid plaid pattern; and “White Wiggle” and “Black Wiggle,” with their alternating stripes and grids, wear their playful erudition lightly, and double as functional vases.

— DeWitt Cheng

Combining my love for textiles with my passion for clay I created this body of work for a solo show at Roscoe Gallery (Oakland). I used the paper patterns I use to cut my hand built clay pieces and cut the same patterns out of thick wool felt. The felt pieces are machine embroidered, painted and glued together. The results look startlingly like their clay mates.