Wednesday, 31 August 2016

Cheers @ Medalta OPENS tomorrow!

Cheers @ Medalta
September 1st– November 30th, 2016.
Medalta’s Yuill Family Gallery
Opening Reception- Thursday September 1st 6-8pm
Online shop opens Friday September 2nd at 12pm MST.

We are excited to share our Medalta International Exhibition, “Cheers @ Medalta,” with you! This year, as we launched the call for submissions on St. Patrick’s Day at NCECA’s (National Council on Education for the Ceramic Arts) 50th anniversary celebration, we felt there was no better theme than celebratory drinking vessels!
It has been great to see so many varied submissions from around the world in ode to celebratory drinking vessels. In the end we had over 430 works submitted which our juror, Robin DuPont, had the difficult task of narrowing down into 140 pieces for the exhibition. Along with jurying the exhibition, Robin will be selecting the grand prize winner of a month long residency at Medalta with accommodation!

If you can’t make it to the reception join Medalta on Instagram, where we will be posting live from the opening and announcing the grand prize and purchase prize winners.

The International Exhibition is one of our biggest and most anticipated exhibitions of the year, and this year will be no exception.  The celebratory drinking vessels we have received from all over the world are a must see, and the best part is… if you see something you like, it’s yours to purchase!

Online shop opens September 2nd at 12pm MST.

movie day: Clay Intersections with Bridget Bodenham + Panel Discussion info

Clay Intersections: Bridget Bodenham from Australian Design Centre on Vimeo.

Bridget will be presenting The New Market with Cone 11 Ceramics + Design Studio's, Ilona Topolcsanyi and Colin Hopkins on Wednesday 7 September, 6 - 8pm.They'll discuss the different ways they’ve built strong customer bases by fostering a direct approach to selling, commissioning and working collaboratively.

This panel discussion is for makers, designers or anyone interested in approaches to productive design practices.

The Cup Collaboration

The Cup Collaboration exhibition is curated by Adriana Christianson and  will be held at The Box Hill Community Art Centre gallery  470 Station Street , Box Hill , Victoria  3128- Australia .

The exhibition will be opened by Vicki Grima, the editor of The Journal Of Australian Ceramics , at 6pm on September 12th, 2016.

Participants are chosen from the Australian and International clay community . Each pair of participants collaborate to produce two cups , and also include one of their own signature cups to the exhibition.

Works will be available to purchase at the exhibition opening , and beginning the following day September 13th,at 12pm AEST  , the ONLINE STORE will open .

INSTAGRAM @thecupcollab
FACEBOOK The Cup Collaboration

Tuesday, 30 August 2016

residency opportunity: Harpo Foundation

Emerging Artist Residency Fellowship
The Harpo Foundation’s Emerging Artist Residency Fellowship at the Santa Fe Art Institute (SFAI) was established in 2013 to provide an annual opportunity to an emerging visual artist 25 years and older who needs time and space to explore ideas and start new projects.  Artist Fellows will receive a one-month residency at the Santa Fe Art Institute, which includes a private room and bath, a private studio space, and a $500 travel stipend. Founded in 1985, the Santa Fe Art Institute (SFAI) provides a unique opportunity for emerging artists to pursue creative projects without interruption. SFAI supports over 50 residents per year and offers a cohesive, arts-focused environment that creates the ideal working conditions for resident artists. Living and studio space is located within a nearly 17,000 square foot complex designed by renowned Mexican architect, Ricardo Legoretta. The unique SFAI environment allows residents to be as interactive or private as they wish. There are no requirements on the work produced during their time at SFAI.
One Fellowship is awarded annually to emerging artists who demonstrate:
  • Strong artistic ability and promise
  • An evolving practice this is at a pivotal moment in its development

Application Process and Deadlines
The 2016 application deadline is Friday, October 1, 2016. Artists must apply online. To find out more about this opportunity, please contact Residency Program Manager Nina Elder at (505) 424-5050 or gro.iafs@redlen at the Santa Fe Art Institute.

technical tuesday: Glynnis Lessing's blog

Not only does Glynnis Lessing make lovely pots, she is also the most generous soul on her website sharing tons of her own techniques as well as tutorials and work of other artists. Sadly her blog hasn't been updated in a few years but the quality of info there doesn't get outdated.

You might need a bit of time and a coffee to get through all of this if you haven't been to her site before! Enjoy : )

Friday, 26 August 2016

call for entry: Touchstone 2017

Ceramics Ireland invites all ceramic makers, living here and Irish makers abroad, to submit to a juried exhibition which will be launched at Farmleigh Gallery, Phoenix Park, June / Sept 2017 and then travel on to further venues. 

Following on from the success of the Centred exhibition, 2014. Ceramics Ireland are delighted to announce that we will host Touchstone in 2017. This coincides with the 40th anniversary celebrations of Ceramics Ireland.

The show will be juried by an independent panel of three and will feature approx 40 artists.
Important dates: Submission deadline: August 31st 2016
Submission of 6 images, CV and artist statement by email. Emailed to: 
(Images must be individually named with artist name and numbered 1 to 6 e.g. Mary Higgins 1 / Mary Higgins 2 – jpeg format)
Submission fee €30 

call for entry: Teapots VIII

Juried by Sam Chung
January 7-March 4, 2017
Click here to apply

September 22nd, 2017:  Application deadline
October 20th, 2017:  Notification on Website
December 18th, 2017:  Work due at Gallery by this date
January 6th, 2017,  6-8:  Opening Reception
March 4th, 2017: Exhibition Closes

Exhibition Requirements and Application Process
  • 100 Teapots VIII will be hosted by Baltimore Clayworks and held in our Main Exhibition Gallery from January 7-March 4, 2017.
  • The opening reception will be Friday, January 6, 2017 from 6:00-8:00 pm
  • Work must remain in our gallery for the duration of the show.
  • Accepted artists are responsible for shipping both to and from Baltimore Clayworks’ Gallery.
  • Baltimore Clayworks receives 50% of the retail price of each artwork sold, the artist receives 50%.
  • 100 Teapots VIII is open to ceramic artists who reside in the United States
  • Work must have been completed in the past two years
  • Clay must be the primary material
  • All works must be for sale
  • Notification of accepted artists will be posted on our website by October 20th, 2016
  • Additional paperwork will be sent to accepted artists after notification
  • All applications must be received by September 22, 2016
  • Include a $30 application fee
  • No more than 5 images (including details) may be submitted
  • Images submitted must be of work available for the exhibition
  • Each image must be a JPEG (.jpg) digital file of at least 300dpi at 5x7 inches
  • Each file name must be labeled with the artist’s three initials in this order: Last, First, Middle (use “X” if no middle initial) and the corresponding number from the Image information page.
  • For example- Arthur Clay Potter would be “pac_1.jpg”
Juror’s Statement:
The teapot is one of the most recognizable and iconic pottery forms throughout the world.  It’s a form that has evolved throughout history in many cultures, yet its function remains constant, to deliver tea.  Not many ceramic forms point at such a specific ritual as the teapot does.  The handle extends an offer to the user’s hand, the lid invites the user to insert tea and hot water, and the spout delivers the reward.  It’s a magical object that mediates a series of actions for a specific beverage.
There is probably no other pottery form that is as complex as the teapot.  What other form demands so much attention to so many things? Form, design, function, ergonomics, pouring, scale, and history are among many of the factors that one can address.  It is also has the most sculptural potential within the vernacular of pottery and continues to be one of the most broadly interpreted forms in ceramics.  From strictly functional, to cube-shaped, to figurative, to organic, the teapot has taken on so many variations.  It has been one of the most creatively interpreted forms in historical and contemporary ceramics.

Sam Chung received his MFA from Arizona State University and his BA from St. Olaf College. He taught at Northern Michigan University from 1998-2007 and has been teaching at Arizona State University since 2007 where he is an Associate Professor of Ceramics. He has exhibited at Harvey Meadows, Ann Linnemann Gallery, AKAR, Greenwich House Pottery, Sherry Leedy and Lacoste Gallery. Sam’s work is included in the collections of The Crocker Art Museum (CA), Icheon World Ceramic Center (Korea), Guldagergaard (Denmark) and San Angelo Museum (TX), and American Museum of Ceramic Art (CA).

job posting: Head of Ceramics Department @ Cranbrook Academy of Art

BLOOMFIELD HILLS, Michigan — Cranbrook Academy of Art, ranked nationally as one of the top ten programs in graduate art education, seeks a new leader for the Ceramics department. The successful Ceramics candidate should demonstrate a strong record as a professional artist at the highest level in the field, have teaching experience at the graduate level and strong interpersonal and communication skills to lead the department of 15 students.

Cranbrook Artists-in- Residence are the singular leaders of their departments. They are given the autonomy to determine the department’s pedagogy and the responsibility for its success. At Cranbrook, Artists-in- Residence are not typical faculty members. They are full-time artists and designers who live on campus, and whose personal studios are located within their departments. During the academic year, September-May, the Artist-in- Residence mentors 15 graduate students in a collegial environment including nine additional departments: 2D Design,Architecture, 3D Design, Fiber, Metalsmithing, Painting, Photography, Print Media and Sculpture. Within the Department, each Artist-in- Residence selects their students, guides the development of each individual and nurtures a productive and interactive environment. The degree program culminates in an exhibition and written masters-statement approved by the department head.

Candidates for this position must be unusually well qualified to provide open, independent learning, resulting in rigorous production, critique and discussion, and inspire research,innovation and experimental paradigms. It is anticipated that the Artist-in- Residence will also advocate the program via the web, publication and national/international lectures as an active component of recruiting future students.

Cranbrook is not simply a graduate program; it is a community of artists and designers, living and working together on a campus that was designed specifically for that purpose. Cranbrook Artists-in- Residence are provided with a private studio, housing on campus and benefits in addition to salary.
The Ceramics Artist-in- Residence should respect the history of ceramics while embracing the visual and conceptual elements of the field through a wide-range of formats and methods, including new technologies. Conceptual models for Ceramics should be characterized by an interdisciplinary, expansive approach that can be used as an open framework for building new visions that will evolve the future of the discipline. The department boasts five large, energy efficient, state-of- the-art, Blaauw gas kilns- three fully computerized and two manual, and several medium and small electric kilns. The studio is equipped with all the essentials and more: blunger, hydraulic extruder, tile saws, spray booth, grinders, sandblaster etc. In this way we hope not only to cater to the already established ceramic tradition- we aim for the department to be at the frontline of contemporary ceramic art and design.

Candidates for this position must be working artists with a sustained record of peer recognition; a demonstrated commitment to college-level teaching; a Master’s Degree or higher; excellent communication skills and leadership skills; the ability to provide a productive and interactive learning environment; the capacity to make a significant contribution to their field and to the Academy.
Position commences September 2017.

Applications consist of two pieces: a single PDF document and a completed Cranbrook Faculty Application form.
Cranbrook Faculty Application Form
The PDF should contain a cover letter, departmental philosophy, curriculum vitae and contact information for three references. It should also include a portfolio of the candidate’s work (20 images). The PDF should be labeled with FirstInitial.LastName.pdf
Applications received by January 11, 2017 will be given priority consideration. Applications will be accepted until the position is filled.
Materials should be sent to
For more information about the Academy and our programs, please visit our website:

The Surface Show: 2 Day Surface Intensive Hands-On Workshop with Meredith Host & Chandra DeBuse

This 2 day workshop explores surface decorating processes at the leatherhard stage. Students learn how to build layers of visual and tactile information intergrating pattern, color, texture and image. Pre-bisque we experiment with underglaze surface design techniques. We will explore screenprinting with thermo-fax and EZ screens, paper stenciling, freehand drawing with inlay/mishima, sgraffito, brushwork, stamping, texture, and tissue transfers. We will combine surface techniques through the use of wax resist and commerical underglaze. Expand your visual vocabulary and learn how to create dynamic , complex surfaces. Although we will use cone 6 porcelain fired in oxidaion, these methods, techniques and information are applicable to all types of clays and firings.

This workshop is suitable for all levels, but some experience with clay will be helpful.
For the hands on portion, everyone needs to bring leatherhard pieces/tiles (4-6 pieces - recommended tile size is 6" x 6"). Any type of piece will work, but a flat surface such as a tile or a plate can be easier/less frustrating to work with at first. White clay bodies are recommended.

Mon., 26 Sep. 2016 10:00 am - 5:00 pm
Tue., 27 Sep. 2016 10:00 am - 5:00 pm
Price: $170.00
Member Price: $150.00

Full details:

Johns Creek Arts Center
6290 Abbotts Bridge Road
Building 700
Johns Creek, GA

Wednesday, 24 August 2016

call for entry: Ninth Annual Cup Show: Form and Function

Gulf Coast State College Amelia Center Gallery is hosting its annual juried exhibition that explores the idea of the drinking vessel. The focus of the exhibit is on the function and concept of the drinking vessel, including its relation to history, politics, craft, technology, utility, and narrative. It is a survey of the wide variety of approaches to contemporary ceramics through the lens of the most intimate and accessible vessel, the cup. This year the exhibit is part of the National Clay Week and will have an “interactive” component, which will take place on October 11.

Juror : Carole Epp : )


movie day: Capturing Chaos

Monday, 22 August 2016

call for entry: $10,000 Awards for Emerging Ceramic and Glass Artists (Canada)

Are you an emerging artist? Do you want to develop your artistic practice? We have two opportunities for you!

The Canadian Clay & Glass Gallery is calling for submissions to the 2016 RBC Award for Glass and Winifred Shantz Award for Ceramics.

These prestigious national awards allow practicing early career ceramic and glass artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner of each Award will receive $10,000. The selection is made by a jury comprised of respected contemporary glass and ceramic artists and other arts professionals. Winners will be celebrated and the awards presented at a ceremony in Waterloo, Ontario on November 12, 2016.

To be eligible for the Winifred Shantz Award for Ceramics or the RBC Award for Glass, artists must be Canadian citizens or have Permanent Resident status. They must have developed skills through training and/or practice in the field (not necessarily in academic institutions) and be recognized by other artists working in the same artistic tradition. Successful candidates seek payment for their work and actively practice their art. All applicants have maintained a professional practice for no more than 10 years prior to the date of application.

Application Guidelines:

To download the complete guidelines for the RBC Award for Glass or the Winifred Shantz Award for Ceramics, visit In order to be considered, applications for either award must be received electronically by Monday, September 5, 2016.

About the Awards:

The RBC Award for Glass is supported by RBC as part of the RBC Emerging Artists Project. The Winifred Shantz Award for Ceramics is supported by The Keith and Winifred Shantz Fund for the Arts, held at The Kitchener and Waterloo Community Foundation.

Past recipients of both awards truly represent the best of the emerging ceramic and glass artists in Canada. Alwyn O’Brien of Salt Spring Island, British Columbia was the winner of the 2015 Winifred Shantz Award for Ceramics. Ito Laïla Le François of Rimouski, Quebec was the winner of the 2015 RBC Award for Glass.


Contact Information:

For additional information, contact Andrew Bucsis, Curatorial Assistant at 519-746-1882 ext. 227 or

Canadian Clay & Glass Gallery
Galerie canadienne de la Céramique et du Verre
25 Caroline Street North
Waterloo, Ontario N2L 2Y5

Monday to Friday 11 am to 6 pm
Saturday 10 am to 5 pm
Sunday 1 pm to 5 pm

Twitter: @CdnClayandGlass


call for submissions: CeramAiR 2017 (in Canada - open to international artists)


CeramAiR (Ceramics Artist Residency) provides ceramic artists the ability to work in a supportive community environment of like-minded individuals, to share their expertise and vision, to inspire excellence and create work at the highest level in a nurturing and creative environment. The artist is provided with accommodations at the Caetani Centre, and is also provided with use of a shared studio workspace and equipment at the Vernon Community Arts Centre operated by the Arts Council of the North Okanagan.
  • Deadline to Apply: August 28, 2016
  • Successful applicants will be notified September 2016
  • Residency: January 3 – April 13, 2017
  • Solo exhibition: March 28 – April 11, 2017

Click here to find out more...

monday morning eye candy: Perry Haas

Friday, 12 August 2016

grant for artist parents: Sustainable Arts Foundation

The Sustainable Arts Foundation is offering awards of up to US$6000 to writers and artists with children. The money can be used for costs such as child care, workspaces, new equipment, research and travel.
The Sustainable Arts Foundation was founded in 2010 with the aim of encouraging parents to continue pursuing their creative passion, and to rekindle it in those who may have let it slide.
There are two funding rounds each year and typically a total of ten grants are made in each round: five Sustainable Arts Foundation Awards valued at $6000 each and five Sustainable Arts Foundation Promise Awards valued at $2000.
To be eligible to apply for a grant you must have at least one child under the age of 18.  Applicants can be based anywhere in the world and there are no citizenship restrictions.
Writers may apply in one of the following categories:
  • Fiction
  • Creative Nonfiction
  • Poetry
  • Long Form Journalism
  • Playwriting
  • Picture Books
  • Early and Middle Grade Fiction
  • Young Adult Fiction
  • Graphic Novel
Visual artists are also eligible able to apply.
Applicants are advised that for the upcoming funding round the organisers are committed to offering half of its awards to applicants of colour. Further information about this initiative is available on the Foundation’s website.
Applications for the Fall 2016 round close on Friday 2 September. For further information visit the Sustainable Arts Foundation website.

Online workshop: Start a Pottery Business

You fell in love with ceramics as a hobby, spent years honing you skills and now you are ready to build your own successful ceramics business.
It’s easy to build a successful ceramics business in the beginning. There are few barriers to entry, startup expenses are modest and you can often sell your work with little initial effort. The problems begin when your friends and family have exhausted their immediate need for pottery.
Running a profitable pottery business requires both sound business skills and a high-quality, desirable product line. You have to understand what makes your products unique, and create a plan for creating and selling them at scale. This three-day live online workshop is designed to help you build a successful business designing, producing and selling ceramics.
We have brought together three successful ceramic artists to give you an inside look at how they built their businesses. They will share some of the insights and strategies that made them successful, and answer any questions you have about building your own ceramics business. The program will include one-hour live streamed sessions with Lisa Jones of Pigeontoe Ceramics, Peter Sheldon + Ellen Woglom of Sheldon Ceramics and Lorna Meaden of Lorna Meaden Pottery.
Here are some of the topics we will explore:
– Honing your style and designing products that sell
– Developing a retail business & selling wholesale
– Building a brand & getting press for your work
– Building an audience & selling ceramics online
– Social media for ceramic artists
– Selling in galleries

Monday, 8 August 2016

monday morning eye candy: Jenny Mendes

job posting: Baltimore Clayworks

Baltimore Clayworks is hiring a Studio and Programs Director.  Deadline September 1st.

This position is responsible for overseeing the development and management of Baltimore Clayworks studio and artist programs. This is both a management and administrative position. The position is responsible for supervising the Education Coordinator, Springboard, Residency and Wood Kiln programs and developing and managing onsite programs and classes for adults, and for administering evaluation for such programs, and hiring and managing of teaching artists. The position requires demonstrated abilities to work effectively with a wide variety of people, excellent time and detail management skills, communication skills, and extensive knowledge of and interest in ceramic arts and artist services. This position will ensure Baltimore Clayworks’ studio is functioning at optimal capacity and efficiency.

About the Organization:

As Maryland’s only 501(c)3 non-profit cultural organization dedicated to the ceramic arts, Baltimore Clayworks provides essential programs and services to local, national and international artists, both from its campus in northwest Baltimore and in the community sites throughout the metropolitan area. Currently it operates four essential program areas: education, exhibitions, community arts and artist residency program. Clayworks’ stated core values are artist-centeredness, inclusivity, excellence, integrity and joy. Clayworks’ mission is to develop, promote and sustain an artist-centered community, which provides exceptional artistic, educational and collaborative programs in the ceramic art.
Reporting: Reports to Executive Director, works in collaboration with Facilities Manager

Essential Functions:

Studio Program

  • Oversee Baltimore Clayworks’ Artists program, including designing, developing and supervising the operations of the resident artist and associate artist programs in accordance to the long-term strategic plans in collaboration with Baltimore Clayworks’ Director and the Board of Trustees.
  • Make recommendations for advancement and growth of said program.
  • Provide administrative support to the Studio Program, including overseeing studio and education advertising and rentals, kiln rentals, studio clean up, communication with artists and conflict resolution.
  • Maintain a maximum occupancy in studios at all times in accordance with appropriate review, jury or enrollment procedures.
  • Work with the Executive Director on improving and strengthening jury process, including brainstorming guest jurors, reviewing application process and facilitating jury.
  • In collaboration with Education Coordinator and Facilities Manager, provide thorough orientation to facility, equipment and Baltimore for new resident, fellowship, and teaching artists.
  • Manage Education Coordinator and studio intern.
  • Develop and coordinate (in collaboration with the shop, and exhibition coordinator) visiting artist and other special workshops in conjunction with the adult education program, community arts, exhibitions, and events.
  • Orient artists to Baltimore Clayworks procedures regarding firing kilns, mixing clay, using raw materials, building access, etc.
  • Run annual trainings and refresher for all artists and staff.
  • Work with Facilities Manager to anticipate and oversee all repairs, maintenance, and capital improvements to major equipment and facilities in the education and studio program areas, including electrical, plumbing, structural, etc., with advisement from Executive and Finance Directors, and technical staff.
  • As needed assist with artist recruitment and wood kiln program.
  • Design, develop, manage (in collaboration with community arts and education staff) special education convenings, collaborations and partnerships, conducted both internally and externally.


  • Provide overall vision and pedagogy for adult education and artist programs. Design adult classes and workshops quarterly (winter/spring/summer/fall sessions).
    Develop recommendations for and oversee actual long-term strategic plans for onsite adult education programs for Baltimore Clayworks, in consultation with Executive Director and Board of Directors.
  • Create annual goals for onsite classes and workshops. Provide reports to director on progress of goals on a quarterly basis.
  • With Baltimore Clayworks Leadership team develop cross-program initiatives and classes.
  • Design, develop and supervise the operations of regular education programs in the Mt. Washington Studio.
  • Supervise Work Exchange Program.
  • In collaboration with Executive Director supervise Education Coordinator and Wood Kiln Manager and meet with staff to set annual goals and facilitate performance reviews.
  • Work with Facilities Manager to upkeep equipment and ensure fully functional studio.
  • Communicate with students and teachers.
  • Program professional development opportunities for students and teachers.
  • Represent Baltimore Clayworks as necessary at conferences, workshops and public events
  • Enforce procedures for student and studio artist access.
  • Coordinate with other Baltimore Clayworks program staff on special events and use of classroom space; maintain schedule for classrooms in coordination with Children’s Program Coordinator and Education Coordinator.
  • Other: Assist with exhibition openings and events; organize and implement workshops and volunteer recruitment for studio clean up and open studio, maintain inventory of tools and clay for re-sale; other duties as assigned.

Qualifications, Attributes and Skills:

  • Strong knowledge and experience in arts education.
  • MFA in ceramic arts or equivalent work experience.
  • Demonstrated leadership capacity.
  • Experience managing the teaching of craft and background in ceramic arts.
  • Excellent communication skills – verbal as well as written
  • Computer knowledge- Microsoft Excel and Word. Prior receipt software and database experience is a plus.
  • Knowledge of 501(c)3 organizations is a plus but not required.
  • Problem solving.
  • Time management.
  • Team player.
  • Demonstrated excellent people skills
  • Must be able to lift and move up to 50lbs.
  • Flexible schedule, some nights and weekends required.

Saturday, 6 August 2016

call for submissions: Centre Materia

Deadline: October 15, 2016
This call for proposals is open to professional artists/craftspersons from the province of Quebec, from Canada and from abroad, whose practice is tied to fine crafts through the techniques or material they use. Their works must emerge from significant research and go beyond the traditional functions of the objects. Materia also invites exhibition curators and organisations to submit innovating projects devoted to the advancement of fine crafts.

> About Materia

Content of the proposal for Artists/Craftspersons
  • Project description (500 words max.)
  • Artistic approach (250 words max.)
  • Recent resume (3 pages max.)
  • A visual file including 5 to 10 good-quality recent images (2300-pixel wide min.)
  • A descriptive list of the images (title, date, material, dimensions, photo credit for each piece)
  • Any other relevant document (examples: sketch, technical specifications, press review)

Content of the proposal for Exhibition curators/Organisations
  • Project description (500 words max.)
  • Resume of the curator or the organisation (3 pages max.)
  • Resume of the artists/craftspersons (3 pages max.)
  • A visual file including about 3 images of recent works by each participating artist (2300-pixel wide min.)
  • A descriptive list of the images (title, date, material, dimensions, photo credit for each piece)
  • Any other relevant document (examples: sketch, technical specifications, press review)
General Information 
Clearly identify the category in which you belong: emerging artist, mid-career artist, established artist, exhibition curator or organisation.
Send your proposal by email no later than October 15, 2016, 11:59 p.m., at You will receive an email confirming that your proposal has been successfully submitted. Incomplete proposals or submissions after the deadline will be discarded.

Virtual tour of the exhibition space
Plan of the exhibition space

Selection criteria
  • Technical mastery
  • Innovation
  • Artistic approach
  • Project originality
  • Project relevance
Information: Ève Préfontaine, Coordinator, 418 524-0354 ext. 249

emerging artist: Brian McNamara

Artist Statement:
My current body of work entitled Seven-Sevenfold, focuses on the rocky relationship I’ve built with religion as a means of identity. In constructing a narrative of my life in the Catholic Church as a bleak landscape, I have situated isolated ceramic pieces with desolate ink drawings. My use of clay references the convention of creation myths, such as God creating man from dirt in Genesis 2:7. In this way I act as creator to my own abominations.

My whole life has revolved around storytelling. My favorite stories were alwaysthe ones that were about society and the leaders of society. Stories that have a utopian society broken by a character revealing it as dystopia: such as Ayn Rand’s Anthem and Lois Lowry’s The Giver, even The Bible. I look to these books with a critical eye and place them in the context of my own life to inspire my art, my aesthetics, and my morality. Through these books I’ve learned what it means to find the idea of ‘self’, what it means to experience, and what it means to love.

In the same way storytelling is rooted in folk tradition, I approach my artwork as an adaptation of traditional folk ceramics. I create figures in a gestural way, leaving the mark of my hand and using a loose-hand built method of construction. When thinking of a composition I pull influence from the Muromachi period of Japanese Suibokuga. The loose and gestural scroll drawings provide a much-needed harmony to the rough material and surfaces of the ceramic pieces.

For guidance in the creation of Seven-Sevenfold, I investigated the number seven and its prominence in The Bible. This body of work features seven landscapes to represent a dystopian viewing of the utopia given to the Israelites after the 40 years of wandering mentioned in Deuteronomy; mirrored in this relationship between the abominations and the alien desert landscapes that I created.

Through the lens of the Catholic Church I am that abomination; set out on my journey through the desert to find my utopia, whether or not it exists.