Saturday, 29 October 2016

call for entry: Vessels Interpretations and Iterations!/home

Full details here:

emerging artist: Olivia Rozema

Of Giants Olivia Rozema MFA Graduating Exhibition
November 12 - 20

Artist Statement
Of Giants is an exhibition of large scale ceramic sculptures of human body parts. Based upon a series of preparatory drawings completed at the McMaster Medical Anatomy Lab, each sculpture represents of an individual piece of the body. With these sculptures I have peeled away layers of skin and biological purpose to reveal a formal sculptural object. 

I believe we are encouraged to see our bodies as either meat or machine; these sculptures subvert this point of view to encourage a relationship with our internal anatomy that is more celebratory than it is medical or grotesque. Despite their beginnings as human anatomic specimens, as a result of their scale and surface, these sculptures seem to be the remnants of a gargantuan pre-historic creature. They have an excess in size that places them outside the realm of human, but in truth our insides are the strange giants that are seemingly strewn across the gallery floor. The final frontier is beneath our skin, and although they often remain unseen, I believe our insides are made up of a complex network of sculptures that each person carries with them as they move through their lives.

Emulating the format of catalogued specimens each sculpture is titled with a number. These titles are a reference to the organization system of a medical lab, but also play with mathematics, as the number refers to how tall a person would be if these fragments were a true part of a body.  For example, the sculpture which represents all the bones in a human left foot is titled 49 10/12. This means that a person with a giant’s foot of this scale would be about 49’ 10” tall. These giant-scale human body parts re-mythologize and monumentalize our hidden and mysterious insides giving viewers the opportunity and license to imagine their own body parts as complex and compelling formal objects.

The sculptures embody a type of self-knowledge. Their forms suggest something we feel we should recognize but cannot place. They have an uncanny resemblance to the real, however, they are skewed. They are strange human parts made stranger, with my hand re-creating and re-imagining their forms. These forms, removed from their natural bodily context and enlarged, reside in the space between the familiar and the unfamiliar, dramatizing the disconnect of our relationship between our insides and outsides. I over-analysed, mimicking the shapes, patterns, and textures that incited my fascination. I removed these bones, sinew, and organs from their natural contexts and transformed them through sculpture, so that my captivation with the shapes of our insides can be shared with the audience.

Sunday, 23 October 2016

The 7th Triennial Canadian Clay Symposium ~ R:evolution – tradition – technology

Saturday, March 18th, 2017
Shadbolt Centre for the Arts, Burnaby, BC

Where do you sit on the technological continuum in your ceramic practice? Are you forging ahead, finding new and exciting ways to use modern digital technologies in the creation or marketing of your work… or hunkering down and finding ways to continue to explore your making in traditional ways?
R:evolution – tradition – technology is a one day ceramics symposium exploring the ways contemporary ceramic artists interact with and employ new digital technologies; as a tool for making work, in their artistic enquiry, or as a means to connect with peers and their market. Attendees will also have the opportunity to investigate the relevance and role of traditional methods in contemporary society.

The Canadian Clay Symposium will feature ten national and international artists who have been invited to share their expertise with ceramic arts students and professionals. Through numerous simultaneous presentations of images, lectures, demonstrations, critiques, panel discussions and a topical keynote address, the topics of presentation cover theoretical topics, as well as practical techniques in areas such as sculpture, hand-building, wheel-throwing, glaze and firing technology and clay bodies.

Over the next months we will share through this newsletter some information about each of the ten Symposium presenters as well as report about other events and workshops that will run in conjunction with the Symposium.

Currently Aaron Nelson is the Associate Director at Medalta, a museum, residency, research and education centre in Medicine Hat Alberta. In addition to his work as an arts administrator, consultant and technical educator, Aaron also maintains an active studio practice. Currently Aaron’s studio research focuses on the intersection of digital technology and traditional ceramic practice. He has lectured on this topic throughout Canada and his research has been supported by the Canada Council for the Arts, The Alberta Foundation of the Arts, and the National Research Council.
In his “Connectivity” project, Aaron’s handmade traditional tea cups, platters, vases and porcelain chandeliers are connected, sometimes by way of their decorative gold luster, with electrical and electronic circuitry, telephones, iPods, generators, light bulbs and audio speakers. The gilded decoration works as a simple circuit board – the surfaces of the ceramics become energized with flowing electrons as they transmit electrical current and data. Visitors are invited to ‘turn on’ and interact with the pieces physically or through their electronic devices.

Learn more about Aaron and his work at these links:
• “The Big Idea” video
• Colour changing chandelier video link:

Gwendolyn Yoppolo uses words, ceramic objects, and food to stretch boundaries and transform perception. She creates sensuous kitchen- and table-wares that use the physical experience of hunger and satiation to allude to larger issues of human desire and relationship. Her visionary designs challenge us to rethink the ways we nourish ourselves and others within contemporary food culture. “The pieces I make are questions, and they remain open-ended until fulfilled through use.”
Gwendolyn earned an MFA in Ceramics from Penn State University, has been a resident artist at the Penland School of Crafts, the Anderson Ranch Arts Center, and the Archie Bray Foundation. Gwendolyn has taught at Ohio University, The Ohio State University, and Juniata College, as well as at art centers such as Arrowmont School of Crafts and Anderson Ranch Arts Center. A passionate educator and thinker as well as a maker, her writing can be found in Studio Potter, Pottery Making Illustrated, and Passion and Pedagogy.

Learn more about Gwendolyn and her work at
Learn More!

For full symposium information, please visit
• All participants must be pre-registered.
• Registration is now open. Early Bird Registration is $125 for Adults or $110 for Seniors (plus GST) until January 15th, after that date Registration will be $150 for Adults or $131.25 for Seniors (plus GST).
• Seniors Discount is only available through phone, in-person and mail-in registration,
on-line registration includes only the pricing option for regular Adult registration.
• All Fees include lunch.
• Register by mail (cheque payable to the City of Burnaby) or by phone to set up a new account: 604-291-6864.
• Those previously registered in Burnaby programs can access webreg online at:

emerging artist: Triniruth Bautista

Friday, 21 October 2016

Virginia McClure Ceramic Biennale: Épisode

• Phoebe Cummings, Benjamin DeMott, Janet Macpherson, Meghan Smythe. Curator: Linda Swanson
Vernissage : Thursday, October 27, 2016 at 6 pm
Exhibition : October 28 to November 26
Artists and Curator Exchange: Friday, October 28 at 7 pm

Épisode is curated by invited artist/curator Linda Swanson. The exhibition features four artists whose works speak not only to excellence and innovation in ceramics, but to its relevance as a discipline that allows for a specifically corporeal, embodied articulation of contemporary human experience. Swanson’s choice of artists — Phoebe Cummings (Stafford, UK), Benjamin DeMott (Chicago, U.S.), Janet Macpherson (Toronto, Canada) and Meghan Smythe (Los Angeles, U.S.) — has resulted in an inspiring, materially seductive exhibition. Indeed, there is something collectively subversive about their work – subversive in the sense of undermining staid narratives, restrictive tropes, or assumptions about our perceived reality. Each artist recognizes the historical heritage of ceramics, yet offers a highly original and imaginatively provocative vision. Épisode is the second of five biennales taking place between 2014 and 2022.

Gallery Hours: Tuesday to Friday 12 pm to 6 pm; Saturday 12 pm to 5 pm

CALL FOR PAPERS: Canadian Craft Biennial Conference Can Craft? Craft Can!

September 15 and 16, 2017
Burlington and Toronto

The Art Gallery of Burlington in collaboration with Craft Ontario is organizing the first Canadian Craft Biennial Conference to be held September 15 and 16, 2017 in Burlington and Toronto, Ontario.

There are eleven sessions covering a variety of themes and approaches. To submit a proposal to a session, please send an abstract (250 words) with your contact information, a short biography (100 words) to the convener of the session you would like to join by 30 November 2016. The full description for each session can be found at

Regular sessions will include four (4) presentations of twenty (20) minutes each followed by a question period. Number of Pecha Kucha presentations in session five is at the discretion of the conveners. All sessions are 1 hour 45 minutes in length.

1. Indigenous Craft Today: Tradition, Innovation, Action
Convener: Elizabeth Kalbfleisch, Independent Scholar

2. Craft and Wilderness: Combatting Territorial Amnesia
Convener: Amanda Shore

3. Somewhere Between Folklore, Modernity and Utopia: Expo'67 and the development of Fine Crafts and Métiers d'art in Canada
Convener: Bruno Andrus

Note: Bilingual Session; Propositions in French and English are welcome.

4. Decolonizing Craft: contemporary craft, race, and decolonial practice in Canada
Conveners: Anthea Black, OCAD University & Nicole Burisch, Independent critic/curator
Email: &

5. The Openness of Craft: Complexity in Current Practices
Convener: Ruth Chambers, University of Regina

6. Identity, Craft / Métiers d’art and Marketing
Convener: Susan Surette, PhD, NSCAD University and Concordia University

Note: Bilingual Session; Propositions in French and English are welcome.

7. Round-Table Session Title: Making Sense: Exploring Creative Methodologies
Convener: Julie Hollenbach PhD Candidate, Department of Art (Art History), Queen’s University.

8. Craft and Public Art
Conveners: Kathy Kranias, PhD Student, Humanities Department, York University, and Lera Kotsyuba, Research Assistant Intern, Ontario Heritage Trust
Email: &

9. Making Education: The Changing Nature of Teaching Craft
Convener: Dorie Millerson, Assistant Professor, Chair, Material Art & Design, OCAD University

10. Craft’s Collaborations
Convener: Mireille Perron, Alberta College of Art + Design

11. The digital ties that bind: Practice-lead research in craft
Convener: Stephen Bottomley, Senior lecturer, Edinburgh College of Art/ University of Edinburgh

The full description for each session can be found at

Tuesday, 18 October 2016

residency opportunity: c.r.e.t.a Rome

CITY OR COUNTRYSIDE? 2017 international artist residencies at c.r.e.t.a. rome
We have just posted the 2017 dates for our short-term residencies in Rome, Italy. 

Founded in 2012, c.r.e.t.a rome is an international centre for ceramics and the arts co-founded by American art-historian, Lori-Ann Touchette and Italian ceramic artist, Paolo Porelli. We offer residencies in our studio in the historical centre of Rome and also in the countryside near the lake of Bracciano. The first application deadline is 1 November 2016. For more info, see our web-site ( or contact us at

Lori-Ann Touchette and Paolo Porelli
c.r.e.t.a. rome
via dei Delfini, 17
00186 Rome, Italy

Gyeonggi International Ceramic Biennale 2017 Korea - International Competition


Curated by Phil Rogers

Bandana Pottery, USA
Frank Boyden, USA
Bruce Cochrane, CANADA
Nic Collins, UK
Josh DeWeese, USA
Jeff Diehl, USA
Doug Fitch, UK & SCOTLAND
Hannah McAndrew Fitch, SCOTLAND
Anne Mette Hjortshøj, DENMARK
Shinsuke Iwami, JAPAN
Lee Kang-Hyo, KOREA
Lucien Koonce, USA
Ken Matsuzaki, JAPAN
Jan McKeachie Johnston, USA
Phil Rogers, WALES
Tim Rowan, USA
Akira Satake, USA

"The Pretty Things Are Going to Hell" at Sculpture Space NYC Projects

Trevor King

October 22 - November 19, 2016
Opening Reception: Saturday, October 22, 6 - 9 PM
Hours: Saturday 12 - 6 PM and Wednesday 5 - 8 PM
Location: 47-21 35th Street, Long Island City, NY 11101

Sculpture Space NYC Projects is pleased to present The Pretty Things Are Going To Hell, a group exhibition featuring recent sculptural ceramics by five New York-based artists: Veronica Frenning, Trevor King, Toshiaki Noda, Sang Joon Park, and Patrice Renee Washington. 
The Pretty Things Are Going To Hell honors the idea of a non-utilitarian, non-traditional vision and experimental approach toward clay. The common denominator of this show is that each artist in his or her own particular way explore the simplicity and anomalies that arise from the process, and rethink the aesthetic values, and ideals of beauty and perfection.
Veronica Frenning works organically, shaping clay into found objects and presenting these finds as specimens.  Frenning’s pieces blur the lines between traces of industry, weathered manmade remnants and fragments of nature.
Trevor King’s Aluminum series articulates the mysterious inner spaces of ceramic vessels. The works are made in a series of steps that involve throwing a clay vessel and then using the thrown pot as the vehicle to cast its own shape.   A wax form made of the pot’s inside is then cast in aluminum, capturing evidence of throw lines, or fingerprints made from pushing clay up as it spins on the wheel.  The resulting objects appear as materials in flux - melting, pouring, drying, and dissolving.
Toshiaki Noda's works are created on the wheel and altered so that the clay reveals its responses to the gesture marks left by Noda's hands. The exaggerated surfaces and entire shapes are formed while manipulating the clay's centrifugal force into Noda's aesthetic form.
Sang Joon Park has the foundations of a trained traditional Korean potter.  Through the repetition of throwing clay vessels, Sang Joon takes collectively thousands of bowls and transforms them into sculptural towers. 
Patrice Renee Washington creates relationships within the "realm of cultural space," setting up scenarios between objects that are seemingly functional whilst addressing concepts of the “primitive and modes of convenience."
Sculpture Space NYC is a ceramics and sculpture center designed to foster creativity, concept and collaboration. SSNYC's intent is to be a resource for artists, providing space, equipment, advanced education and opportunities for exhibitions and residencies. New York City based artists Andrew Kennedy and Magda Dejose founded SSNYC in 2014.

Patrice Renee Washington

Sang Joon Park

Toshiaki Noda

For more information, please contact Sculpture Space NYC / Projects at 718-806-1709 or

what's been up lately....fusions, general hardware...craft ontario...make and do...a weekend of #canadianceramics

Hey Everyone,

I hope you can forgive the fact that a week went by without our usual emerging artist/monday morning eye candy and such posts. It's been a crazy busy time around here lately. Rather then try to play catch up I thought I'd let you guys in on what's been going on around here lately.

This past weekend I was in Toronto for the Fusion Clay and Glass Exhibition. Bringing together artists from across Canada it was a weekend filled with some of the great ceramic work that our fine country has to offer. I'm pleasantly exhausted and returned home feeling inspired and appreciative of those in our community that work tirelessly to bring events and artists together like this. Celebrating it's 20th Anniversary this year the Fusion Clay and Glass Exhibition is known for the diversity and talent that it presents year after year. I highly encourage Clay and Glass artists from all over Canada to take note of this prestigious event and to reach out to the organizers to get involved for next year.

#canadianceramics Family picture at Fusion
such an incredible space at the Artscape Wychwood Barns

While in Toronto I always try to stop by and visit some of my favorite pieces at the Gardiner Museum.  Lovely to see some of Edmund DeWaal's pieces there this time. And they also have a sweet exhibition on mapping the influence of Scandinavia Design in Canada highlighting both older as well as contemporary works by artists across the craft disciplines not just ceramics. If you have a mid-century chair obsession (as i do) then it's a show worth catching.

Also took in the opening reception for Clint Neufeld's new exhibition at General Hardware Contemporary and the opening of the new (incredible) Craft Ontario retail and exhibition space.  

I also had to steal a few minutes to run over to Harbourfront Centre to see the Lindsay Montgomery exhibition that was on in their vitrine gallery. She's one of my favorite Canadian artists right now so I was pretty excited to get to see the work in person.

And fellow make and do ceramics member Shane Weaver gave us a tour of his latest project: dex(terity) lab. More on that very soon as he will be opening his doors to the public in November...very exciting to see such a beautiful ceramic work and retail space in Toronto. Every city needs one of these! that was just Toronto...

I'm also super excited to invite you to the Void Gallery exhibition of make and do ceramics which opens runs  from October 12th to November 6th. This is our first exhibition as a collective. A reception will be held Thursday, October 20th, from 7 to 9pm. Please stop by if you're in the area or you can view/purchase work online as well.

 I'm sure I'm missing things I need to say... I especially want to thank all those that were involved with making this trip our to Toronto so amazing. It was the break from the routine and the inspiration I needed. xoxoxo carole