Jezzel Wee creates art for interaction

The ongoing Art Fair Philippines 2025 is once again teeming with both established and emerging artists showcasing diverse disciplines — some rooted in classic forms, others embracing contemporary approaches that might challenge audiences’ expectations. Ceramic artist Jezzel Wee falls into the latter category.

Ceramic artist Jezzel Wee CONTRIBUTED PHOTO/JOJO GLORIA FOR ART FAIR PHILIPPINES

A Fine Arts graduate from the University of the Philippines (UP), Wee presents “Pagbulong” under the ArtFairPH/Projects section.

More than simply displaying her carefully crafted works, Wee encourages visitors of the art fair to interact with her exhibit.

Ahead of the fair, The Sunday Times Magazine interviewed Wee to learn more about the artist behind the art.

What initially drew you to art. Were you raised in a creative household?

Growing up in a household that encouraged playing outdoors and exploring nature enriched my creativity. It offered inspiration which I applied during my high school art classes.

When did you realize you wanted to pursue it as a career?

After a year of studying nursing, I realized that I wanted to pursue art as a profession. Whether teaching at UP or creating art, I view my practice as a form of service — distinct in its materialization, yet equally meaningful in its contribution.

Looking back, was there a specific moment when you knew ceramics would be your primary medium?

Yes, after finishing a year of elective ceramics course in college I wanted to learn more about the medium and its possibilities.

Pagbulong is described an immersive, interactive experience where visitors engage with ceramic dolls. What inspired this concept?

This exhibit draws inspiration from my previous works that engage with the viewers, such as “Drone Progression” (2019), “To Weigh Seeds,” “Pulling Through” (2023), and “Traversing Grounds” (2023).

In 2018, shortly after I returned from Japan, I incorporated wishing dolls in an artwork for a group exhibit at the National Center for Culture and the Arts (NCCA). That time, I felt that people were giving me wishing dolls that symbolized their wishes and aspirations for me. For this fair, I wanted to share the act of wishing for oneself, and others.

The exhibit invites people to handle fragile ceramic pieces, an unusual approach in galleries. What do you hope visitors take away from this interaction?

I hope they appreciate the slowness and details of each ceramic piece, and let the space be a pocket of stillness wherein they can focus on themselves and the work in front of them.

Your training in Tsugaru Kanayama-yaki involved making thousands of ceramic pieces under a master potter. How did this experience shape your artistic philosophy?

Mastering the discipline of this art takes a lifetime. It requires consistent and constant work. There are no shortcuts when you want to create something sincere.

What role do rituals — personal or cultural — play in your creative process?

It provides me with structure and routine, while also grounding me in the rich history of the art practice that I am carrying forward. Like the works in the Pagbulong, the range of clay mixture, types of glazes, and firing that were done for each piece acknowledges past and present techniques. During the production process, the works remind me that I need to constantly pay attention to the changing conditions of the clay.

What’s one lesson you’ve learned from working with clay that applies to life beyond art?

Learn to appreciate what’s in front of you and learn to let things go.

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The Art Fair Philippines 2025 runs until today at Ayala Triangle in Makati City. Tickets are available at the fair’s reception area.