Quick Take: An Interview Series

Artist 2 in Our Spring Question Series: Jessamyn Go

Each season, I chat with creatives to explore their unique processes, inspirations, and challenges. As the seasons change, so do the questions, bringing fresh perspectives along the way.

This spring, I’m excited to feature Jessamyn Go, a Mastic Beach-based ceramicist whose work I first discovered through Instagram and art markets across Long Island. As a lover of ceramics and the tactile experience, I’m drawn to how Jessamyn’s work combines organic forms with intriguing textures and glazes that invite both visual and physical interaction. I had the chance to introduce her to The Storefront, where she participated in two exhibitions, including a solo show. Jessamyn is deeply involved in her community and always shows up to support others. I also admire her eagerness to experiment and try new things while staying grounded in a strong, personal aesthetic. I was excited to catch up with her this spring and learn more about her creative process.

1. What skill or habit outside your craft has shaped how you create?

"Over the last couple of years, I’ve discovered my inner rhythm through the practice of facial energetics, dance movement, and most recently TM meditation. I’ve been working with a facial energetics coach for two years, and it has seriously impacted my life—so much so that it has even found its way into my work.

For example, my Pulse series consists of organic sculptures that serve as tangible totems of energy. I believe that movement, stretching, and breathwork help deepen creative pathways that can’t always be described in words. And with the heightened chaotic energy of 2025 (yes, I see you, universe), the need for self-preservation feels more urgent than ever—not just for me but for so many people around me.

TM (Transcendental Meditation) is a new practice I started in March of 2025. It’s been a great tool for calming my busy mind. I’m only a month in, so I’m still learning the practice, but I can’t wait to see how it shapes my creative evolution."

2. What’s the best advice you’ve ignored, and why did it work out?

"I wouldn’t say it was advice I ignored, but rather a social construct I rejected: the idea that a 9-to-5 job equals success.

A steady paycheck, health insurance, PTO—all that security sounded great in theory. And for a while, I lived that life. I worked in fashion, managing sales teams in NYC’s trendiest neighborhoods, attending runway shows, and enjoying the glamor of designer clothes, shoes, and handbags. It was amazing—until it wasn’t.

By the end, I was miserable. Unhealthy. Stuck in a cycle of making millions for a company that saw employees as nothing more than production numbers. It took me 20 years to realize I was just a hamster on a wheel. A personal life event finally pulled me away, and during that time, I discovered clay. That was the beginning of the end of my fashion career.

Now, as a full-time artist, my life is a complete 180. It’s not always glamorous—I work all the time (goodbye, PTO), and I don’t have a steady paycheck or a 401(k). But I work for ME. I’ve built a brand, established myself as an exhibiting artist, and gained a level of freedom most people don’t have. I get to manage my own time, adapt, and evolve without a performance review. That’s a trade-off I’ll take any day."

3. If you could collaborate with any creative—past, present, or even fictional—who would it be and why?

"Björk. Obviously. SHE’S A CREATIVE GENIUS!!!

But in the actual world, I should mention my current collaboration with my partner, Ray Knives. I’d like to think this project is inspired by Björk’s avant-garde approach to art and sound.

Right now, I’m developing ceramic vessels that generate sound. No official title yet, but I’ve been prototyping vessels that amplify the essence of nature—the resonance of the wind, the vibrational whispers of the universe, the staccato rhythm of erosion and decay. The collaboration will involve recording these sounds and transforming them into ambient compositions.

This project brings together so many things I’m passionate about: sculpture, sound, and the land. And I get to do this with my favorite person in the whole wide world!!! We have a grand vision/fantasy… but I don’t want to give too much away just yet."

As the season shifts, what idea has been on your mind that now feels ready to take shape—whether through a new approach, material, or perspective?

"I’ve always loved the tactile nature of craft. My hands have to make things—it’s a compulsion.

Back in 2008, I taught myself how to crochet, which led to crocheting with roving wool and making these giant sculptural hats and scarves that, frankly, were too heavy for practical use (unless you were looking to herniate a disc). Then I tried making cat beds, but they didn’t hold up under the stress of curious claws. So, I moved on to millinery, taking night classes at FIT in NYC after long days of managing a luxury Italian designer store in Soho. It was exhilarating—steaming and sculpting felted rabbit, wool, and beaver hat bodies over vintage wooden hat forms, shaping crowns and brims into wearable sculptures. I loved it. Unfortunately, I had to stop when my career shifted.

Now, I’m back to sculptural work, but in clay. It all started because I wanted to make pots for my plants, and then—well, obsession happened. I loved throwing functional pieces like cups and bowls (so. many. bowls.). But over time, I shifted away from the wheel, drawn to a more organic, playful approach—something that allows my hands to explore the material beyond technical precision.

As the seasons shift, I’m feeling drawn to a new exploration: blending fiber, woven materials, and sewn fabrics into my ceramic sculptures. I don’t know if I’ll have time for all of it… but when has that ever stopped me?"

To keep up with Jessamyn, follow her on Instagram: @femmesole