New Work at C2 Gallery in Winnipeg

I am really happy to announce to all those people who collect my work or who have supported me throughout the years that pieces are now available at the Manitoba Craft Council C2 Gallery Shop on Cumberland Street in Winnipeg.

The current work is the result of several years of research. I was never interested in colour despite the fact that I created rutile blue vessels for my clients years ago.  But, on my second trip to Copenhagen in 2018, all of that changed.  There I saw the oranges, greens, and blues so prevalent in flower vases made by many Danish potters. Still, “There was a lot about the work that was not me, and I needed to find my voice.” That same year I received funding to research and test the use of colour on clay vessels fired in wood kilns. At about the same time, I was commissioned to write a chapter for a book on Environmental Humanism. At the intersection of the two, there was a desire to lessen my carbon footprint.  I began to experiment with single-fired earthenware ceramics.

In the spring of 2019, the sparks of this new defining aesthetic were lit while I was an Interdisciplinary Artist at Hospitalfield House in Arbroath, Scotland. The theme of my project was transience.  Photographs of the sea at Lunan Bay, the gardens, walls, and hardware of Hospitalfield House were taken every day for a month at three specific times. The unfired vessels that were created were intent on capturing the changing colour and the patinas of decay.  The objects were placed at the edge of the sea and in the trees of the gardens so that they could deteriorate naturally over time.  Right now, three similar pieces are in the exhibition, The Constant Happiness is Curiosity at the School of Art Gallery, University of Manitoba until 6 September.

 

I purchased books on colour theory and began to look at how colours existed side by side in nature. Instead of using glaze, I began to experiment with ceramic stains. The colours and their application did not have the life that I wanted.  This period was followed by the addition of multiple colours to the surface, often using tape to create a hard edge like the paintings of the 1950s.

I had gotten to a point where I was trying so hard, and nothing was coming out the way I wanted. It was very frustrating. And then, one morning, I began to remove the colour and, I was like, hey! Sometimes, I begin work on a series of vases and everything just clicks. At other times it is not so easy.  The surface has to be loose. If I overthink it, it is dead. The latest is called Miami Dreamsicle, a medley of pinks, oranges, and a touch of turquoise or Wedgwood Blue. This series is highly reminiscent of suminagashi or floating ink, a Japanese marbling technique.

detail, Dreamsicle series

 

I have recently moved my studio to my home.  This relocation eases the way for me to manipulate the eight or more layers of colour on the work spontaneously. The current objects differ greatly from my previous work because I am now rejecting function and instead, embracing the clay’s surface as a canvas.

I am very grateful to Tammy Sutherland and her staff at the C2 Gallery for this opportunity and invite all of you to stop in and see the new pieces.

 

 

Columbia Basin Culture Tour

If you live near the Columbia Basin or you are travelling to British Columbia, and you will be there for August 10 and 11, you really need to check out the 70 artists that are in the 11th annual culture tour.  Studios are open daily from 10-5, and there are maps, brochures, and postcards at the galleries, craft shops, information bureaus, and studios of the artists.  I have written about many of these creative people before, but it is time to wake everyone up again to get out and see what is new.  For specific information, you can find maps, information on each of the artists, event activities at http://www.cbculturetour.com. It is all free to charge.  Take a road trip and support the local artists in the Columbia Basin of British Columbia.

Standing in Gunda Stewart’s studio in Canyon, I looked down and saw a postcard and started laughing.  Good thing Gunda was out grinding a lid or she would have thought I had lost my mind.  The problem was I couldn’t stop.  Gunda gave me a smile, and I showed her what was causing all of the chaos:  a photo of a sheep under a hairdryer with those bristle rollers, red high heels with her utters spilling over the edge of the chair.  Gunda was quick to point out that that particular artist had managed to get an image of three different works on the three different types of publicity.  Within an hour, we were standing in Andrea Rovey’s studio in Creston, and that is where I came face to face with GlamChops!

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Andrea has this seditious sense of humour.  She made a sculpture in celebration of the Pink pussyhats, women marching against Trump in 2017.  It was her way of dealing with this outrageous situation.  Scattered about are award-winning sculptures, chicks dancing on cars, rabbits, beavers with the brightest red lipstick.  I should have paid more attention because this was a fantastic studio with one heck of an incredible artist.  Andrea studied at Red Deer College with Trudy Golley and also went to Penland- but the humour is all her.  Notice:  Glam Chops is reading a book on ‘Teets’.  Underneath each of these is something that relates to women.  Stop in and check out her work….there is much more on offer.

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The Kootenays are so green this year and hopefully with the rain maybe it will be a wildfire free year. Gunda fired her wood kiln, and her shelves are ready for the tour.  She loads everything up and takes it to Cameron Stewart’s studio up in Passmore.  You can catch her at the market in Creston on the weekends or in her studio when the ‘open’ sign is up.  The wood-fired functional ware of her, Cameron, Pamela Nagley-Stevenson, and Robin Dupont is exceptional and unique to each maker.  Check out their studios on the tour.  I hear the last wood firing for Nagley-Stevenson had quite surprising results.

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If you are not going to be in British Columbia, then check out what is happening with your local artisans and artists.  In Manitoba, the Winnipeg Folk Festival will have its annual handmade village and around all of the provinces are weekend markets where you can buy local.  And if you want to become more ecological, then consider something well made that will make a person happy for a long time that was created by someone local.

Harlan House

It was many decades ago that I met Harlan House.  Within the decade, I was fortunate enough to have spent some time with him and Maureen at their home in Lonsdale.  Harlan has always been there when a question needed to be answered.  So this weekend is kind of bittersweet.  It would have been the weekend that Harlan would have had his annual open house exhibition and sale.  It is the day that I have received my copy of his book, My Work, My Way.  Fifty Years in the Studio.  

Harlan once told me that one of the things he admired about Bert Borch, one of his instructors at ACAD, was that he wrote his glaze recipes on the board.  Anyone could use them; they would never be the same.  Nothing was a secret!  Harlan has already posted his book online for anyone to download.  If you haven’t found it, check it out.  Just Google Harlan House.  It is full of all of the recipes that he used over the years with images of his work from the very beginning in Calgary.  My fondness is for Harlan’s sense of humour.  It comes out in his work as do a myriad of influences that he discusses throughout the text.

In a world of excess, some have a desire for sustainability.  Harlan was way ahead of the game.  If you were to tour his studio, you would be able to see the old Electrolux vacuum cleaner that he used to spray glaze on his ware.  He maximised the use of stainless steel milk containers (being disposed of by a local dairy farmer) to mix up his slip, and his kiln was, the last time I was there, the original from forty years ago.  Harlan believed in treating everything around him with gentleness and love.  That gas kiln was fired for five days, slowly.  It lasted.  There is something to learn there!  I am pretty confident that one of the two Shimpo wheels in his studio was at least forty years old.  Harlan and Maureen lived in the slow lane, enjoying their family, their garden, and the life that Harlan’s creations gave them.

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Harlan is famous for his beautiful celadon porcelain and his ‘Iris’ pots.  He once gave a workshop at Pinecroft Studios (arranged by his good friend, Tony Clennell).  There he demonstrated how he applied the slip which, itself, resembled marshmallow cream.  Tools were, I suspect, rarely purchased.  Instead, ordinary objects found a home by his wheel.  This included a stainless steel bicycle spoke (note that stainless steel should not rust and hurt the beautiful white clay) that was used for a lot of things including levelling the edges of the wide rim platters when they decided to curl upwards.

Always ready to move on to something new once he has mastered a form, Harlan not only used the smoothy shiny Chinese glazes but worked on a series that resembled barnacles, the Morgan.

The one below is the GW Bush aircraft carrier single flower boat with one dim candle on board!  I told you he had a seriously funny sense of humour especially when it comes to ignorant politicians.

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For anyone considering ceramics, you should take a page out of Harlan House’s playbook – be patient.  Porcelain taught him to be patient.  He once advised me to tell my students that if they wanted to work with porcelain, they needed to learn how to trim, and they needed to like trimming.  He would also add that recycling the clay that was left from the trimming is a must.  I cannot think of any better advice to give to everyone working with clay, regardless of the type.

Many people – collectors, friends, curators, gallery owners, and locals – will miss Maureen’s cookies this weekend.  Harlan hasn’t quit working.  He just isn’t keeping a regular schedule.  Check out his website, read his book, look at his work – it is delightful.

‘The Bob Show’ needs you. Are you a former student of Bob Archambeau? Do you know someone who was?

2018 marks 50 years that Robert (Bob) Archambeau has been with the School of Art.  On November 28, a small exhibition of his work in celebration of his teaching and mentorship will open at the School of Art Gallery.

How can you help?  If you are a former student of Bob’s or you know someone who was, please contact me.  I am looking for stories, rememberings, and reflections on Bob as a teacher, mentor, and artist.  These will appear in the catalogue and on the walls of the gallery.

I am also looking for historic work and photographs.  Again, if you have photographs or work you could loan, please get in contact.  The School of Art Gallery is a class A gallery and the work is insured!

e-mail:  maryannsteggles@icloud.com    OR   maryann.steggles@umanitoba.ca

Thanks!

Canadian Ceramics Community is saddened by the loss of Jack Sures on May 12

Jack Sures had a strong connection with Manitoba.  Born in Brandon in 1934, he started studying painting and printmaking at the University of Manitoba’s School of Art in 1954, when it was located downtown.  After transferring to the  University of Michigan and travelling to Europe and the Middle East, the young artist returned to Winnipeg to set up Jack Sures’s Studio on Portage Avenue in 1962.  The late Charlie Scott said that ‘Sures ushered in the modern era of pottery making in the City’.  This was, as far as Scott knew, the first independent ceramics studio in the City.  It attracted other talents such as Tam Irving, Anne Marie Schmidt-Eisler (later to study with Harlan House under Albert Borch in Alberta), Muriel Guest, Jason Krpan and Gerry Tillapaugh.  In 1965, the University of Regina attracted the talented artist and passionate teacher to lead up their ceramics programme.  Sures retired from teaching in 1989.

Timothy Long in the exhibition catalogue for Fine Form, Saskatchewan Ceramics stated: ‘In the post-war period, pottery gained substantially in status, moving from a cottage industry to a subject of academic study. Leading the way in Saskatchewan was Jack Sures (Regina), who established the ceramics program at the University of Regina in 1965. Sures advocated that ceramics be considered an art form on par with painting and sculpture.’

Sures used all of his talents when he created works of sculpture, ceramic murals, vessels and tiles.  He gathered up the influences of his studies abroad to add to his personal expression onto the surface of the clay and its form.  Sures exhibited his work internationally and for his talents was recognized by his being awarded the Order of Canada (Companion) in 1991, the Saskatchewan Order of Merit in 2003, the Commemorative Medal of the 125th Anniversary of the Confederation of Canada for his significant achievement in the Arts, as well as the Queen’s Diamond Jubilee Medal in 2012.  More recently he was the recipient of the Governor General’s Award for Excellence (2018).

For Sures clay was the most expressive artistic medium.  Throughout his life, he remained fascinated with the way that the medium could reinvent itself.  For this sculptor and vessel maker, throwing at the wheel was soothing for his soul.  Sures often said that the richness of one’s life and spirit is reflected in their work and in turn, transferred to the viewer.  Sures will be sadly missed.

Fired Up! Victoria, BC May 25-27

More than three decades ago, the late Robin Hopper and his partner,  Judi Dyelle, envisioned an event that would showcase the best of British Columbia ceramics on one site for an event packed weekend.  During these 32 years, twenty-three ceramists have displayed and sold their work at the Metchosin Community Hall.  It is, in fact, the longest-running ceramic exhibition group in Canada.

The theme for 2018 is ‘Coastal Vessels:  Romancing the Sea’.  The exhibition and sale are open from 6-9 on May 25 and 10-5 on May 26 and 27th.  If you are out in Victoria, check out the great talent that has been juried into this exhibition and sale.

Robert Archambeau Retrospective in Celebration of his 50 years​ or silver anniversary with the School of Art and the University of Manitoba will open in mid-November at the School of Art Gallery

The precise date is still to TBD but it will be around November 15 running until mid-January.  This is an amazing chance to look back at the work of one of Canada’s legendary ceramic artists and someone who has given so much to the School of Art and its students.  ‘Bob’ has been a fabulous mentor to those working in ceramics.

If you or anyone you know has ceramic work of Bob’s and would loan it to the School of Art Gallery for the exhibition, please get in touch with me as I will be curating the show.  The contact information is maryann.steggles@umanitoba.ca

Stay tuned for more details.

Photo:  Bob working in the ceramic studio, School of Art, 2016