Susan Delatour: Crossing Bridges

3-2.1In 1978, Susan Delatour came to Canada from the United States, as a post-graduate student, to study ceramics at the Banff Centre’s School of Fine Arts in Banff, Alberta.  It was there, in the beauty of the mountains and lakes, that Delatour suspended her wheel throwing practice and embraced the expressiveness of hand building.  Encouraged by Les Manning, she began to experiment with various forms of firing including pit or sawdust firing and raku.

On completion of her studies at Banff, Delatour relocated to Shawnigan Lake, British Columbia where she set up a production studio in the centre of the village.  With the financial downturn, Delatour and her then-husband, Steven LePoidevin, sought out alternative means of earning a living.  He returned to teaching while Delatour set up a studio at their new home in Princeton, British Columbia, where she also raised the couples, two sons.  At the time, she relied on two kilns, one electric and one sawdust.

Delatour’s early exposure to alternative firing methods helped her to develop a deep passion for creating primitive fired ceramic sculptures which she notes are full of ‘mystery and allegory.’  She smokes her pieces in a brick box, a practice she has been using for many years because the method incorporates shadows into her work that evoke ‘ancestors and generations of people who came before us’.  Her work honours the animals that live in the surrounding environment, as well as people and places that have touched her ‘in significant ways’.

She is currently working on a new series entitled Crossing Bridges, a reference to the universal life-changing events that we experience such as ageing and changing relationships.  In 2014, Delatour turned sixty years old, a pivotal moment that had a profound influence on her new body of work.  Her parents died, her two sons got married, and she became a grandmother.  One of her sons lives in China while the other is on the eastern coast of Canada; Delatour is in the middle, a place from where it is not easy to physically visit with her children on a regular basis.  The theme of the ‘bridge’, an object that connects something to another, that allows us to cross over, also represents aspects of transnationalism.  Delatour struggles with her identity;  she is an American living in Canada.  She tries to understand migration, immigration, and the crossing of borders, all aspects of her new series and her life.

Her work is exhibited internationally including some of the most prestigious juried exhibitions in Asia including the 6th Taiwan Golden Ceramics Exhibition in Taipei and the 3rd World Ceramics Biennale in 2005 in Seoul, South Korea.  Delatour is another unrecognized Canadian talent.  She also teaches workshops.   That is a hint to anyone looking for someone who really knows their way around sawdust and pit firing!

Author: maryannsteggles

I am a Professor at the School of Art, University of Manitoba where I teach art history and studio ceramics. My current research is on the history of Canadian wood firing, the marginalization of women within ceramics, and the impact of Vietnam era migrants on the history of Canadian ceramics. You can reach me at my e-mail address: maryann.steggles@umanitoba.ca

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