Atelier La tour des Bidoux

Atelier La tour des Bidoux

 

 

 

 

 

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Jessie Mooy

Just 3 kilometers from Riberac on the road to Perigueux in a Medieval Archers’ Tower is Atelier la Tour des Bidoux.

Would you like to visit the Atelier? Please phone before visiting.  See the contact page To contact Jessie Mooy, also for directions or would you like to take some ceramic lessons? Then see the page on courses and contact me.

Pour sites francaise et nouveaux vases

1. Jessie Mooy. Céramiste à Riberac (en français)

2. Autre site de Art en France   français

Contents

Latest work
Past work
Biography
Artist statement
Reviews
Awards
Articles or books on the artist’s work
Public & Private Collections
Solo Exhibitions
Group Exhibitions
Related websites

Latest work

 

Raku firing 19 February 2017. Works still have to be scrubbed at this stage

raku

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Latest raku sculptures to be exhibited at Saint Emilion this summer 2017. From 6 June till 20 September .Address: Espace Demptos, Rues des anciennes Ecoles, Saint Emilion, Gironde. 

 

Figurines

Ladies with Birds (2016)

Ladies with Birds 19-07-2016 12-53-25

Right one sold (Private collection USA)

The Gaia vessels and torsos: numbers 5 and 7 sold. (2016)

Past work

 

Vases, some examples

Figurines Raku.

Cavalière sculpture Raku

Rider. Stoneware and Raku Sculpture

Masque. Raku.

Mask. Raku.

2 Bustes. Raku.

2 Busts. Raku

Masque. Raku. 2015

Mask. Raku.

Angel. Raku Sculpture                                        Head with Bird Stoneware sculpture

 

Figurine avec un Oiseau.Sculpture-raku. H: 45cm

Infanta detail

Infanta. Stoneware sculpture. detail

 

Lady with a Chameleon. Raku Lady with a Cameleon. Raku sculpture

Harlequin Rider Raku

Harlequin /Rider Raku.

Harlequin Rider Big oval plate. Raku

Harlequin Rider Big oval plate. Raku

PAINTINGS. Oils on canvas 

Dans la forêt des Bouleaux

Dans la forêt des Bouleaux

OIL ON CANVAS

Some examples of recently sold work

Please click on first image to see the next

Biography

Jessie Mooy has been a professional ceramicist and artist for more than 35 years.
She studied Fine Arts at the Art Academy of the University of Pretoria, South Africa majoring in Painting and History of Art. While concentrating on painting in the eighties, she  started working in clay in 1991. Then she started studying sculpture techniques at the Nelson Mandela Metropolitan University in Port Elisabeth in the Eastern Cape where she lived. Because of political unrest she moved back to Europe in 2009. Since 2009,she works and teaches ceramics in the Dordogne . There she established her studio, Atelier La Tour des Bidoux in an old Archer’s tower. T

Jessie has had numerous (about 100) exhibitions in South Africa, Belgium, Holland, Japan, Hong Kong, Spain, France and the UK. Her work has been collected internationally in private collections and her ceramics and paintings have been acquired by several Art Museums in  South Africa and public institutions.

She has won several prizes in South Africa for her ceramic work. If you want to read more about the above information you can scroll down to the bottom of this page.

Artist statement

How I interpret the female in my art

The female in my art and nature as a whole are one concept The image of woman is used as a counterforce against alienation from nature and from the spiritual. Women are depicted as a life-giving earth mothers or as custodians of all life in nature. In my ceramic work my continued interest in the creative aspect of the earth, plants and all its creatures has been evident for decades, not only in the medium of clay, but also in the formal variety e.g. vessels become flowers or female torsos , handles and rims of vases become leaves and flowers etc.

Un Mundo – 2007 handbuild vase. (s0ld)Private collector. South Africa

In my more recent work, done in France,  I have made a series of sculptural vessels of female torsos painted with  the creatures of the sea, the earth and the sky. (see the pictures at the top of the page the works from 2015-2016). The Dordogne is seen as the birthplace of Humanity. Two very interesting prehistoric female fertility figures were found here, namely the Venus Impudique and the Venus of Sireuil. These mystical little sculptures intrigue me and also omfluenced the torsos.

See original image

Venus Impudique. Prehistoric,27,000 AD. Found in the Dordogne at the beginning of  1900

In the past the female form subtly changes into parts of insects e.g. butterflies or moths or parts of flowers and plants. In some busts, the top of the shoulders changes into butterfly. Sometimes the crackle in the glaze is caused by the raku technique and accentuates the delicate veins in the wings of the butterfly. Plant and animal forms on various parts of the sculptures accentuate the inter-relatedness of all things in the cosmos. The clay that the sculpture is made of is part of this earth and other heavenly bodies (stars). The eyes of these women are always very prominent and they look inwards, not outwards. These women become spiritual beings and seem to transcend the physical.

Influences which shaped her work

  • The study and observation of nature: plants, flowers, insects and all sorts of animals.
  • My interest in the female form, also as part of a vessel to express oneness with nature.
  • My ongoing interest and study of the ancient art of Egypt and Greece and now the fertility figures of prehistory here in the Dordogne, reflect all these above-mentioned interests. There is a beauty that transcends the temporary in the art of these cultures. I try to achieve the same timelessness.
  • My work at the S A Bureau of Heraldry where I worked as a Heraldic artist. Very bright colours ( esp. the earlier work )and stylised elements.

Philosophy

Living in a world devoid of spiritual aspirations and where the importance of material interests is stressed, I believe that the female guards the great mysteries of the unknown. She brings together the reality of our conscious life and the mystical, intuitive and divine part of ourselves which is part of the natural world.

Reviews

Cornelia le Roux, Die Burger, Eastern Cape, 29 November 2008 (on Jessie’s  last one person show at 19 Hillbrow Place in Port Elizabeth, South Africa” “On entering this exhibition, one is immediately confronted with the big ceramic sculpture African Earth Mother (terracotta) like a slim claystick at a dark pool, a big teardrop falling from her smooth clay cheek. These become tears of blood on her decorated cape. At the back of this sculpture there is graffiti from Homer: basically saying we are earth and earth is us.

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Gaia, Earth Mother 2006

It is always this theme that is used again and again in her painting as well as in her ceramics. In her work Sisters (6 heads of different colour clay) now part of the permanent collection of the Nelson Mandela Metropolitan Art Museum, it is clear that she dreams of an ideal world, without conflict between nations: a world where we use our energy to look after the Earth and all its creatures” See the original news article in Afrikaans: “Mooy’s beautiful porcelain”

Piet Hein, Amsterdam’s Dagblad 12 September 2005. Expositie Stijfselmakersschuur, Oostzaan, Amsterdam ,Holland
“Deze rondreizende tentoonstelling was eerder te zien tijdens het jaarlijkse Grahamstown Art Festival in Zuid-Afrika. De werken geven bleik aan een hoge artistieke kwaliteit. In Oostzaan staat het werk van Jessie Mooy in het middelpunt. Het werk van Mooy is geinspireerd door de thematiek van de Vrede, de verdraagzaamheid tussen volkeren, de vrouw en de Fauna en Flora van Zuid-Afrika. Haar werk heeft dan ook een Internationaal karakter. Ze heeft inmiddels geexposeerd in Belgie, Nederland Spanje en Japan.Het werk van de Zusters (SISTERS) heeft een Internationale boodschap. Dit werk onderstreept en ondersteunt de principes van het werk van Het Internationale Vrouwen Bond voor Vrede en Vrijheid dat is gevestigd te Den Haag”2005-sisters-beelden

Sisters. 2005. Collection Nelson Mandela Metropolitan Art Museum

Pieter van Zyl, Die       Burger, East Cape, 21 November 2002:“Jessie Mooy’s Ceramic female sculptures have an air of exquisite fragility. The Nelson Mandela Metropolitan Museum has just bought another of her works: Metamorphosis I for its permanent collection.

2002 Metamorphosis 1(madame Butterfly) Collection Nelson Mandela Metropolitan Art Museum Port Elizabeth SA

THE QUARRY PE. Collection Nelson Mandela Metropolitan Art Museum PE. Eastern Cape South Africa

THE QUARRY 1989 PE.Collection Nelson Mandela Metropolitan Art Museum PE. Eastern Cape South Africa

Mooy has been working since the previous millennium with the feminine aspect of God. In Chalice for a New Millennium she uses Egyptian Mythology to show the power of women. In this image according to an Egyptian Deity, she has the power of night and day pouring the stars out of her mouth and then catches them with her womb. This theme finds its way also in other ceramic works like: Un Mundo where the fragility of life is represented as a foetus inside a womb. Also in her paintings women are represented as custodians of nature and life in general.” Kin Bentley, Eastern Province Herald June 4 1998 Mooy exhibits at Cuyler St Gallery The exhibition, at the Cuyler Street Gallery until June 13, consists of Port Elizabeth land- and cityscapes done in oils, pastels and monotypes, as well as oils exploring the history of the Great Zimbabwe ruins. Dutch-born Mooy has had eight one-person shows in South Africa and has participated in 48 (now 55) group exhibitions, including the Cape Town Triennial. Since 1997 she has set up a ceramic studio in Belgium where she makes raku sculptures for various galleries in Belgium, Holland and Germany. She has worked on four public commissions since 1984, including five canvas panels for the J L B Smith Institute of Ichthyology in Grahamstown, 24 quilt designs for St Bernadette’s Catholic Church, Walmer, and huge monotypes for Telkom’s head office in Port Elizabeth.

Kin Bentley, Eastern Province Herald June 5 1998 Artist inspired and assured EXHIBITION of paintings, graphics and ceramics by Jessie Mooy (Cuyler Street Gallery): FEW cities in South Africa have as intimate and visually exciting a built environment as Port Elizabeth. And Jessie Mooy explores its opportunities with an eye hungry to record unusual and unexpected vistas, helped along by an imagination which is able to transform what to us is an everyday scene into a timeless work of art. The lower Baakens Valley is a key area for her, and in South End she exaggerates the height and gradient of its slopes to dramatic effect. The last remaining South End church forms a focal point. It stands atop a precipice below which stand row upon eerie row of high-rise buildings – more a symbol for the CBD than an exact representation.Similar effects of perspective are achieved in another large oil, The Walk, which shows a girl and her dog walking along a path on the northern slope of the valley, across from that lonely church (obviously painted before South End became Legoland). Another fine work, Settlers Park, captures the abundant vegetation of this green lung, seen – it would seem – from about the point where a high-rise apartment block has been erected in one of the city’s most cynical and obtrusive developments yet. Another splendid study of the city is The Quarry, a view of this landmark seen over that row of old terraced houses in Valley Road. The arrows created by the roofs of these buildings lead the eye upwards to the quarry, and thence to the assortment of buildings above. A small pastel, View of Central from South End, is another amazingly good work, in more traditional mould. A large cactus occupies the foreground and behind it rises the skyline of the old CBD, with the Campanile and old Post Office tower prominent. This is a great piece of drawing – one of several in this medium on the exhibition. Another splendid oil painting, this time a conventional landscape, is Kariega River, which shows a forest of euphorbias around a body of water, with the river meandering in the background. The Grahamstown Group for decades have used the euphorbia in dark, brooding compositions. How nice to see them painted here in light, bright colours which explore to the full their princely forms and interesting textures. Her brushwork, whether painting broad areas like hills or fine details, is assured and inspired. This exhibition contains a wealth more of great merit.

South End H 150cm. Private Collection Port Elizabeth

South End 1988 H 150cm. (sold)  Private Collection Port Elizabeth South Africa

Kin Bentley, Eastern Province Herald, 12 March 1998 on Ad-Hoc exhibition by Eastern Cape Artists at Cuyler Gallery, Port Elizabeth “Among the ceramics, Jessie Mooy’s Totem- like  Ode to Eve is a monumental work celebrating the plight of women ,  nearly 2 metres high, this elongated terra cotta vessel, features female figures swirling in the firmament, the underglazed and glazed painting on here is reminiscent of the mystic works of William Blake. At the base in steep relief the different ages of women is recounted. As we look higher up the vessel, the figurines become spiritual beings with wings and at the highest point we only see stars in a night sky” Renee Oliver, Eastern Province Herald 3 March 1995 Ceramic artist’s works feted PORT Elizabeth’s Jessie Mooy is one of 10 ceramic artists in South Africa to have her work exhibited at the country’s first international biannual display, in Johannesburg. Mooy, a teacher at Lawson Brown, is a qualified sculptor and painter and began her career in ceramics just four years ago. Her unusual ceramic work was spotted in Johannesburg last year. “It was after last year’s exhibition that the organisers contacted me and asked me to display some of my work at the biannual. This is a great privilege because only 10 South Africans’ works are on display, along with people from the whole of Africa, Europe, America and Britain.” Her most prominent work at the Africa Earthed exhibition is a majestic 1,8 metre high pillar cum candelabra called Ode to Eve. The massive structure, made in her Walmer studio during the December holidays, had to be fired in three stages. “It’s the biggest structure I’ve ever made. It has three parts – the base is made up of ceramic sculptures of nude women in all the stages of life – from puberty to pregnancy to death. The second phase is symbolic of the heavens and the spirit of women, and the third phase is abstract and in the shape of a woman’s body. A large candle fits into the top of the structure symbolising the light which emanates from inside us.”

Barry Ronge, Sunday Times Johannesburg, July 1993 (On the group exhibition “The Feminine Aspect of God” at the Grahamstown National Arts Festival)Magic is a word so overtraded that it is almost risky to use it but the exhibition The Feminine Aspect of God is filled with an ancient vibrant magic that rises from the earth and moves to heaven through

Moondance 1990

our intuitive spirit bodies. … Jessie Mooy’s ceramics are sensuous and sacramental, filled with voluptuous natural forms, gilded and silvered and pulsating with ripe generative life.

Professor David Edwards, “The Return of the Repressed Feminine” published Dec. 1993 in The Phoenix, Vol. 6, No. 3, by the Albany Museum, Grahamstown, South Africa (A talk given at the opening of the art exhibition “The search for the feminine aspect of God” in the Standard Bank Gallery of the 1820 Settlers Museum, Grahamstown, on 6 August 1993)For James Hillman, the Archetypal Psychologist, images are the irreducible matrix of the human psyche. It is images which motivate our behaviour and programme the quality of our emotional and motivational life from moment to moment. What depth psychology has shown us is that these guiding images may often be deeply unconscious and that much of the alienation that people feel is due to an alienation from this source of creativity and authenticity. In most traditional cultures the shaman is a person who learns how to venture into the unconscious to meet and engage with this imagery source (for example in the form of mythic stories or in the form of encounters with spirit guides and deities), and in so doing to bring back to the people of the culture perspectives on the powerful unconscious forces which are at the root of cultural life. The successful shaman therefore must shuttle between two worlds. In this sense an artist can be a shaman and I have no doubt that the artists whose material is discussed here are shamanistic in this sense that they have realised in their painting and ceramics powerful guiding images which are the root of important cultural processes that are underway at present. All art has a personal dimension for the artist who is inevitably working out his or her personal struggles and dilemmas. But the personal dilemmas are always embedded in universal dilemmas; struggles which many people within a culture are engaging in and working out day by day. The first reaction of many people to this exhibition was a refreshing feeling of meeting something familiar yet somehow lost, of meeting something that speaks to them in a way that much contemporary art fails to do. I believe that the reason for this is because it has that sort of archetypal significance. It is spontaneous transpersonal art, which recovers a vision of womanhood which is generous, fertile, sensual and has a self-authenticating self-respect, constructive potency and spiritual dignity. This exhibition is described as a search but it is more than a search, it is a finding and a recovery. … It is this kind of systematic brutality against an ancient spirituality that led to respect for the divine feminine becoming deeply repressed in the collective unconscious of our culture. Within Catholic Christianity some of the old traditions survived in the Veneration of Saints and the Virgin Mary. The Protestant revolution destroyed much of what remained of the ancient earth religions. Why am I telling this long story? Because unless we understand it we will not understand the significance of this exhibition. Jessie’s Black Madonna recalls an ancient European tradition of the Black Goddess. She is black not because she is African, nor because she is of the underworld or because she is evil, but because she is of the soil, because she is of the fertile earth, because she remembers that the bodily fertility of woman, in menstruation and child-bearing and milk-giving, is somehow energetically connected with the fertility of the earth. Ralph Metzner who has documented the history of the split between spirit and nature in European consciousness, and from whom I draw much of what I have said here, tells us that there are still six black Madonnas extant in European churches today. I find it moving that Jessie has made a black Madonna for South Africa. Jessie is a remarkable woman. She is a committed Roman Catholic and comfortable within that tradition yet she is a spontaneous nature mystic within whose being these ancient images of divine woman come flooding in. Jessie describes her Forest Nymph as a Madonna too. Her contemplative eyes speak of a direct access to the sacred; her generous breasts speak of an unselfconscious fertility. Jessie’s comfort with this juxtaposition of the Christian Madonna and the forest nymph remind us of the deep roots in an ancient spirituality of the Christmas story and the devotional appreciation of the mother and baby image.

Nonquase’s Dream. 1992  Height 58cm. (sold) Private Collection Port Elizabeth SA

Each of Jessie’s ceramics has its own story. Nonquese’s Dream is based on the story of a Xhosa girl in the last century who had a visionary experience of all of the people working in harmony with each other and with the land. On the one side of the vase she is pictured with her eyes glazed in a trance-like state experiencing the vision of humanity flourishing in a gentle land with rich harvests living in harmony with each other and the natural world. But the dream is not realised, the people fight. They fail to respect nature or to live in harmony with it. There is famine and destruction. Many people perish. On the other side of the vase we see Nonquese looking at this destruction and weeping out the pain and disappointment. … I believe that these works are drawn from a hidden wealth at the mysterious heart of the planet’s historical unfolding. These artists have let that source speak to and through them. Through being here reflectively with these works perhaps we can let that source speak to us too and guide us to find our own place in the challenges that face all of us as potential planetary citizens in the last decade of the twentieth century. Robert Brooks, National Ceramics Quarterly No.21, 31 August 1992 Eastern Province Institute of Architects Merit Award for Ceramic Art 1992Jessie Mooy made a beautifully integrated work called Queen of Sheba’s Reliquary (purchased by the Durban Art Museum in 1995). It was a true reliquary in that you could open it and find mysterious objects inside. Again a wonderful way to depart from the brief. The box is covered with images with green the base colour so there is lots to read and look at. The technique was quite strange in that glazes were “runny” but did not overrun their boundaries – it reminded me of a classic line from ‘MacArthur’s Park” by Peter Webb as sung by Richard Harris “all that pale-green icing running down”. This work drips beauty and good intentions and was as honest as the day was night.

1992 Queen Sheba’s Reliquary. Glazed Earthenware. height 60cm. Collection Durban Art Museum. Natal. South Africa

Awards

2005              Nelson Mandela Metropolitan University “Something Exquisite” ceramic exhibition,  first prize

1998              First National Bank Vita Craft Now, Highly Commended Award

1991 1992  Goodwin’s Jewellers award  for  Ceramic Art

!992              Corobrik SA Highly Commended Award

1992             Kenzan Highly Commended Award

1991             First Prize, Corobrik Regional Award for Ceramic Art, Eastern Cape

Articles or books on the artist’s work

2014                  http://www.veniceclayartists.com/tag/jessie-mooy/

2005                   The Collectors Guide to Art and Artists in South Africa, published by the South African Institute of Artists and Designers (Second Edition)

1998                   The Collectors Guide to Art and Artists in South Africa, published by the South African Institute of Artists and Designers

1995                    Insig, April 1995

1994                    A Selection of Eastern Cape Artists, by Helena Theron – du Toit

1993                    The Phoenix, Magazine of the Albany Museum, Grahamstown, Dec 1993, Vol. 6, No. 3

1992                    National  Ceramics Quarterly, Sept 1992, No.21

1988                   The Dictionary of South African Painters and Sculptors, by Grania Ogilvy, published by Everard Read

1988                   National Ceramics Quarterly

Public & Private Collections

Dame aux trois tournesols

Dame aux Trois Tournesols 2013

Jessie’s work has been taken up in national and international collections worldwide and been bought by various Art Museums in South Africa mentioned below. She also received numerous awards and prizes for her ceramic work in South Africa.

Public collections 

Durban Art MuseumNatal, South Africa
Northern Transvaal Regional Art Museum, Pietersburg (Polekwane) , S A
Nelson Mandela Metropolitan Art Museum, Port Elizabeth,SA
Rhodes University, Grahamstown, Eastern Cape
Cuyler Clinic, Uitenhage, Eastern Cape
ABSA Bank, Johannesburg, Gauteng, SA
Telkom Head Office, Port Elizabeth, Eastern Cape

Private collections

South-Arica; UK– London; Netherlands – Amsterdam, Utrecht,  Belgium-Maaseik ; Australia – Sydney; Hong Kong; , Spain –  Marbella Mallorca; Portugal; Germany;  France – Paris and  Dordogne; America – New York; Norway

Solo Exhibitions

2012 – 2017 Atelier La Tour des Bidoux, Riberac Dordogne

2011 Gallery Ludwig Tossaert. Antwerp Belgium
2004-2008 Hillbrow Place Gallery, Port Elizabeth, South Africa
2001-2004 The Cape Gallery, Cape Town, South Africa
2001 Gallery Witte Arend, Utrecht, Holland
2000 Galerij Exelmans, Maaseik, Belgium
1999 Cuyler Gallery , Port Elizabeth, South Africa
1998 Amsterdam , Holland , figurines, Potterij Gallery “Het Oude Dorp”, Amstelveen,
1992 Grahamstown Arts Festival, Eastern Cape
1986 South African Association of Arts, North Gallery, Pretoria, Gauteng
1986 Museum Art, Potchefstroom, Orange Free State
1988 EPSFA (Eastern Province Society of Fine Arts) Port Elizabeth, Eastern Cape
1988 South African Association of Arts, North Gallery, Pretoria, Gauteng
1983 EPSFA (Eastern Province Society of Fine Art ) Gallery, Port Elizabeth, Eastern Cape

Group Exhibitions

2012 till2016, yearly  L’espace Demptos, Rue des Anciennes Ecoles, Saint Emilion, France

2011 – 2013  Gallery 4 Seasons, Saint Aulaye, France

2012 – 2013, Gallery Le Coquerico, Villebois-Lavalette, Dordogne, France

2010 The Cape Gallery, Cape Town, South Africa
2010,2012  Galerij Exelmans, Maaseik, Belgium
2007 “Sisters” Exhibition of group work in The Red Location Museum, Port Elizabeth Township, SA
2006 “Celebration of Life “Montage Gallery, Walmer, Port Elizabeth, South Africa
2005 Holland Tour exhibition of works by “The potters of Madiba Bay ‘organized by the Department of Cultural Affairs of the Netherlands and the Nelson Mandela Metropolitan Art Museum
2004 “The Potters of Madiba Bay “Grahamnstown Arts Festival, curated by the Nelson Mandela Art Museum, Grahamstown, South Africa
2004 Fauna and Flora, Cuyler Gallery, Port Elizabeth “Changes” exhibition, Nelson Mandela Metropolitan Art Museum. Port Elizabeth, South Africa
Ysselstein 1998.99, Utrecht, Holland, Gallery De Boog,
1998.99 Demi-Jour Gallery, Amsterdam, Holland
1998 First National Bank Vita Craft Now National Exhibition, The Castle, Cape Town, South Africa
1998 First National Bank Vita Craft Now Regional Exhibition, King George VI Art Gallery, Port Elizabeth, South Africa
from 1998 to 2002 AD HOC exhibition, Cuyler Gallery, Port Elizabeth, South Africa
from 1997 to 1998 J Van Den Elshout Gallery, Den Haag, Holland.
1997 Rive Gauche Gallery, Maastricht, Netherlands
from 1997 to 2010 Galerij Exelmans, Maaseik, Belgium
from 1997 to 1999 AD HOC Sculpture, Cuyler Gallery, Port Elizabeth, South Africa
1997 ABSA Bank exhibition of selected Eastern Cape art, ABSA Bank, Johannesburg, South Africa South
1997 Ceramics for Collectors, Gallery on Tyrone, Rosebank, Johannesburg, South Africa
1996 “People, Places and Perspectives” National exhibition in South Africa hosted by Nelson Mandela Metropolitan Art Museum, Port Elizabeth South Africa
1996 “Fish and People” exhibition, Department of ‘Ichthyology, Rhodes University, Grahamstown Arts Festival, Eastern Cape.
1995 “The history of clay” in the province of East Cape, Albany Museum, Grahamstown. Exhibition of invited artists
BIENNIAL 1995 JOHANNESBURG – An exhibition of international contemporary art, artists invited
Cuyler Gallery Sculpture Festival 1995, Port Elizabeth, South Africa
1995 Ceramics ’95, Durbanville Cultural Society. National Exhibition of invited Artists . Cape Town, South Africa
1994 Women’s Images of Men, Durban Art Museum, National Exhibition of guest artists, Natal, South Africa
SOUTH AFRICAN CERAMICS FESTIVAL 1994, HONG KONG, China
1994 The Feminine Aspect of God, Gallery on Tyrone, Rosebank, Johannesburg
1993 GAP Group Exhibition, King George VI Art Gallery, Port Elizabeth, Sanlam Centre, Cape Town
1993 The Feminine Aspect of God, St. Patrick’s Church Hall, Arts Festival in Grahamstown, Eastern Cape .
1993 The Feminine Aspect of God. Standard Bank Gallery, Albany Museum, Grahamstown, Eastern Cape
The Eastern Cape Landscape 1992, Albany Museum, Grahamstown, Eastern Cape
1992 Association of Potters of SA Nationals, Pretoria Art Museum, Transvaal
1992 GAP Group Exhibition, King George VI Art Gallery, Port Elizabeth , University of South Africa, Pretoria, Kimberley, Bloemfontein
1991, 1992 Association of Potters of South Africa (East Cape), Nelson Mandela Metropolitan Art Museum, Port Elizabeth, Eastern Cape
1989, 1990 and
1991.1994 GAP (Rhodes University, University of Fort Hare and Port Elizabeth Technikon) Group Exhibition, King George VI Art Gallery, Port Elizabeth
1989 Landscape Exhibition, Everard Read Gallery, Johannesburg, Gauteng
1988 CAPE TOWN EXHIBITION OF SELECTED TRIENNIAL NATIONAL ART. Traveling exhibit to all the major art museums in South Africa,
1988 Art and Photography Exhibition, EPSFA, Port Elizabeth, Eastern Cape
1988 Miniature Exhibition, EPSFA, Port Elizabeth, Eastern Cape
1987 Anne Bryant Gallery, East London, Eastern Cape
1985 Wildlife Artists of the World, Everard Read Gallery, Johannesburg, Gauteng
1984 “Fish in Art” exhibition, Rhodes University, Grahamstown Arts Festival, the Eastern Cape
from 1982 to 1994 EPSFA (Eastern Province Society of Fine Arts) Annual Exhibition, Nelson Mandela Metropolitan Art Museum, PE South Africa

Related websites

Another interesting site with more info about Jessie: http://www.veniceclayartists.com/tag/jessie-mooy/

Images are copyright of  the artist, their respective owners, assignees or others.