Don’t Miss Out – One more day for the Crafted Show and Sale at the Winnipeg Art Gallery!

The Crafted Show and Sale is on at the Winnipeg Art Gallery til 9pm tonight, Friday November 2 with doors opening Saturday from 11am to 5pm.  This is the fourth year that the WAG has opened its doors so that  Manitobans can see the talents of more than fifty of its artists.  The entry fee is $5.

Once inside the door you are welcomed by the team that put together a great charity event.  Twenty of the ceramists and their bowls were teamed up with twenty of Manitoba’s top chefs to create a cookbook.  They are selling for $10 and the majority of the proceeds will go to Winnipeg Harvest.  It is beautifully designed and illustrated and is the perfect gift for all of you looking for a Surprise Santa gift.  Going along with the theme of soup and soup bowls, you can actually have your lunch while shopping.  On offer for $5 a bowl are Smoked Arctic Char Chowder, Curried Green Pea Soup, Chilled Roasted Golden Beet Soup, and Hemp Mulligatawny.  And if that wasn’t enough there is also White Bean Soup, Heirloom Tomato Gazpacho, Kale and Potato, Carolina Crab Bisque along with Vegan Carrot.  It is a great opportunity to rest between floors!  and visit with friends.  Despite it being a Friday, visitors were already flooding the stalls by 1pm.  One of my favorites Indigo Arrows, beautiful hand made and printed textiles by Destiny Seymour, was almost sold out by the time I got to the 4th floor.  Her simple designs on lovely dyed linen represent Destiny’s Cree heritage.

But, I have to admit that it really is heart warming to see so many talented ceramic artists that have been students at the School of Art.  Terry Hildebrandt has just returned from getting his MFA in Alberta (featured image).  Check out his beautiful wood and soda fired work up on the Mezzenine Floor.  He is right on the left as you exit the stairs.  I have a ‘soft spot’ for Terry’s plates, my collection extending back to when he was an undergrad student and more recently some of the most stunning plates found at the Manitoba Craft Centre’s shop.  Directly across from Terry is the talented Jessica Hodgson who not only creates work and teaches at The Edge Clay Centre but also works for the Manitoba Craft Council (busy young lady).  Alan Lacovetsky is part of the cooperative at the Mostly Stoneware Gallery.  His studio is located in St Andrew’s.  Alan is part of the Interlake Wave Studio tour that takes place in the spring and again the beginning of September.  It’s a nice drive and a great chance to check out his wood kiln!

The number of ceramic artists boogles the mind and again is a testament to the thriving ceramic community both within Winnipeg and out.  Their work is so varied and is a reflection of their strong creative spirit.   I do apologize if I miss anyone – you are all fabulous.  PJ Anderson combines her love for basketry and ceramics into distinctive smoked fire vessels.  I have always admired Kelli Rey’s sense of humour and her wonderful ability to handle clay since I first curated her work into the exhibition, Soup and Sustenance, in 2008.  That show also had a charitable theme with the gala soup dinner tickets going to the Portage la Prairie soup kitchen.  Funny too…it was a bit of a snowy blustery day back then.  Several other members of the Mostly Stoneware Gallery are included including the rising young talent of Teegan Walker and the work of the celebrated Kathryne Koop.

I could go on and on…the list of clay makers is long.  But I also want to call attention to two special people on the first floor.  The first is the ceramic technician for the School of Art, Chris Pancoe.  Check out his fermenting jars and his soup bowls.  Valerie Metcalfe, one of the founders of the Mostly Stoneware Gallery on Corydon, is next to Candice Ring just a short walk away.  I have admired Valerie’s work for decades but this year my heart went out to her as she and a group of devoted citizens tried to protect a wooded area, home to a large number of deer, near to where I live, from being destroyed by urban expansion.  In response, she made a lovely series of work specially dedicated to the Parker Forest and Wet Lands.  It was because of that big heart of hers that I had to break a promise not to bring any more ceramics into my house.  Valerie, I am sitting here enjoying the nicest green tea from that gilded mug.  What a tearful day it was and what will now happen to those deer that so long have called this area home?  One found its way into the traffic by Jubilee and Pembina.  Thankfully it wasn’t killed.

Ceramic artists share so many social and environmental concerns while at the same time making objects and vessels to enrich our daily lives.  The Crafted Sale has more than clay but, why not tomorrow, begin thinking of who might need something for the holidays – a teacher, someone in your family, a friend – and head down to the WAG for the last day of Crafted.  Have your lunch, buy a cookbook and feel good about helping others.  You won’t regret it!

Well, my goodness

My students and I prepared for the worst.  But look at the faces of Sara (left) and Monique (right).  It wasn’t all bad.  No cones down, Oxyprobe reading said that we were only at about cone 3 and, of course, no real view into that wood kiln when we ran out of wood.  We were disappointed but at every turn, there was something to be learned.  Today, as a few of us unloaded the kiln, there was confirmation that the shelves were too close to the back wall.  Next time, they will be 10 cm away!  But, of course, we need wood.  Manitoba surely isn’t known for its abundant forests.  Too bad.  Several are searching to try and help us.  So, what we need are logs, no bigger in diameter than 15 cm but at least 1 metre long or able to be cut to 1 metre.  And they need to be dry.  But…for the disappointment, there was also some joy.  Some of the pieces did get some lovely ash and some of the glazes did mature.  Have a look!

 

 

The Learning Kiln, Round 1

I haven’t added anything to this blog since the beginning of the term but, it is now time to once again praise a great crew of people.  The students from the first Wood Fire Class at the School of Art:  Jaiwei Dai, Julia Beasley, Kendra Wile, Kewen Qiang, Monique Chartier-Kroeker, Sara Berg, Yijia Zhang, Zach Dueck, Anastasia Waly, Alexandra Ross, and Hyoungjung Lee – in no particular order.  I would also like to thank a former student and Ceramics Club co-president (with Selena Panchoo), Donna Garafolo, and a current student in another class who came to help and really did, Keith Barber.  Of the eleven students in the class, only two had ever fired a wood kiln. The learning kiln did everything that ‘it’ was supposed to do.  If a university is about learning and problem-solving and if woodfire is about building community, teamwork and collegiality then this firing was one of the most successful I have ever been a part of.  I would be proud to fire with any of these respectful, hardworking, and tenacious individuals and I am looking forward to another firing before the end of the term with this teamIMG_0365IMG_0374IMG_0380IMG_0385IMG_0391IMG_0394IMG_0399IMG_0407IMG_0409IMG_0413 if we can procure dry logs of the right length and diameter.

While I would like to be showing you amazing pictures of lovely glazed work this morning, I can’t.  We ran out of wood at cone 3 after using up every available piece of wood and borrowing a table saw from Keith and a chainsaw from Donna.  The Oxyprobe worked brilliantly.  Students learned how to translate numbers into reducing or oxidising and even neutral atmospheres inside the kiln.  They were, however, disappointed at not having bellowing black smoke go everywhere – the kiln is, after all, a smokeless one.  They learned about building a proper ember bed and not blocking the flue, about ‘stoking on the hobs’ – even the word was like one from a totally foreign language – hobs, what are hobs?  Oh, those are the hobs!  It is interesting, as a teacher, to find that actually doing something is more of a learning tool than reading and talking about it (a bit like reading how to put a diaper on a baby and then being presented with a real child)- especially when most of the students do not know the language of wood firing.  The majority did not know what an ember was nevermind an ember bed.  They do now!

These students did everything right according to Steve Harrison’s Laid Back Wood Firing and Markus Boehm’s instructions in the summer.  They pre-heated the kiln with gas (thanks Sara from coming out in the middle of the night) and then started using sticks and branches to start the ember bed before going full fire on the floor.  They built one of the most beautiful ember beds I have seen in a long time.  They went to the hobs following the schedule in Steve Harrison’s Laidback Wood Firing – a book that I will now require for this class in the future.  But it was there with them at every moment.  And the temperature rose slowly not to warp or dunt the pieces inside.  One of the surprises to them was one that caused a moment of problem-solving.  The flames which had been ‘going down’ in the Bourry Box began to look like a ‘campfire’ – they were coming up.  When we ran out of dry suitable wood, they attempted to use some cut off slabs (remember I said they didn’t want to give up) and one of these blocked the flue into the main chamber for a bit.  Back on track they built up their ember bed, went back to the hobs, and then got to full-blown fire resulting in reduction.

Harrison lists the possibilities for a stall and we carefully examined page 14 and his list.  We ruled out not enough ember pile to preheat combustion (see feature photo with logs on hobs), going to the hobs too quickly (we followed the medium length firing schedule in the book), top of the firebox was hot enough, and we had good dry pieces when we went on the hobs (again see above).  The firebox design was made for one-metre poplar logs and worked well at the first firing.  And the students did not forget to clam up the bottom stokehole door.  This left us with two choices and they were the two culprits that defeated us at cone 3:  too big a cross-section of timber because of the large mass it took too long to reach the flashing point and that wood was wet.   We sealed up everything and cleaned up.  The area looked fantastic due to their efforts.  And, in the midst of all of this, we also did a raku firing.

So I want to repeat something because I do not want anyone to consider this firing a failure; it is not the student’s fault that the wood we had available to us at a crucial juncture was too big and too wet.  This is a learning kiln and if University is about learning and problem-solving, then this firing was 100% successful!  I do not want the students, or anyone, to think that a kiln full of beautiful glazed ceramics is ever the only goal.  If this firing had gone perfect, I actually suspect that the learning aspect would have been minimal.  We, me and the students, are humbled along with all other wood firing potters, even Steve Harrison, who have had issues firing their kilns.  I suspect that that is what, over the years, inspired Harrison to write his book so that we could learn from his experience.  Next time we are going to measure the diameter of the logs and their length.  I would give anything for the tool to measure the wetness of wood.  We will have our own chainsaw (and gas – thanks again, Donna and Keith).  We will, once again, check what to do in the ‘Harrison Bible’ and the firing will result in lovely glazed cone 12 ceramics.

Summer Students Finish Up (almost)

Five students at the University of Manitoba worked on various aspects of ceramics over the summer months.  They are winding up their studies and it is time for you to see some of the work that they completed.  They were Iris Smith, Jade Shynkaruk, Rebecca Sutherland, Sara Berg, and Selena Dyck.

These five students discovered in the spring that they required anywhere from 3-9 credit hours at the 3000 level in order to enter their Honours or 4th year of study.  Of the five, three work almost full time.  One student, Jade, had more experience with clay and is the President of the Ceramics Club for 2018-19.  One student, Rebecca, had no experience with clay.  The other three:  Iris, Sara, and Selena, had taken the three credit hour beginning wheel throwing class in the fall of 2017 and another course in wheel throwing in the winter.  At the School of Art, students take five three-credit hour classes per term.  In other words, these students did not have the luxury of working full time in the ceramics space until this summer.  Each was working on a different project.

Sara Berg is very interested in Classical Chinese cobalt painting on porcelain.  She wanted to master, as best she could, this technique before moving on to her own subject matter that would still be expressed in this ancient technique.  She also worked on classical forms and took part in the wood kiln workshop where she not only learned to properly mortar bricks and the laying of bricks but also was able to use her welding skills to create the frame for the kiln.  We were really grateful for these hidden talents!  Little did we know that she was also a diesel mechanic and had a license to drive an 18 wheeler.  Sara moved to painting her own story on the largest of the porcelain stools she constructed – a young warrior woman and she is truly a warrior!  She has not had the time to study the history of ceramics and the inspiring women of the 20th century but she came up with one bowl that is so reminiscent of Lucie Rie that I am including it.  Can’t wait to see what she does this fall.  DSC02959

Selena Dyck wanted to study cone 6 glazes.  She loves blue and green.  Selena’s work exhibits a dedication to detail, mastery of form, and consistent testing and questioning.  Her first project was to make a 12 piece place setting of dishes.  Her second was to create 40 test pots and learn how to take a transparent glaze, make it opaque, and then colour both the transparent and the opaque base.  She discovered that she prefers the cone 6 Campana clear with copper carbonate added.  Selena challenged herself to create a set of 5 perfect nesting bowls – which she certainly accomplished!  Her dedication to keeping her glaze journal, the details about each of the glazes and their reaction and where they were in the kiln will be a good tool for her in the future.  Selena was the first one to discover that Reitz Water Blue pinholes.  We now think that the overfilling of our kilns is the cause.  Didn’t impact the smaller bowls but was readily apparent on the larger ones.  Selena asked all of the right questions – has an enquiring and observational mind.  She would make a great ceramist.  The handles on the cups at the front fooled our MFA student.  Mary thought they were press-moulded.  Nope.  Selena got very good at pulling handles!  Sadly, the ceramics area is losing her to print media in year 4.

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Jade Shynkaruk came to Winnipeg from Brandon where she had studied ceramics.  She has a keen eye for a colour palette, understands the importance of colours and how they relate to interiors, and was one of the first students to know what the company Pantone does!  Jade works full time as a consultant at one of the Benjamin-Moore stores in Winnipeg and she translates that work into her ceramics which sell off the tables whenever there is a Club sale.  I am super impressed with the weight of her work, the size of the coffee cups, and the care that she takes figuring out the glazing and how the colours relate to one another.  Jade is not ready to set out and become a full time production potter but she worked on all the things that a professional potter had to master:  form, repetition of form, the right weight for the vessel, and the glazing.  She will do very well.  She also has an Etsy site:  Etsy.com/shop/jadecoraldesignDSC02923

 

Rebecca Sutherland came and wanted to try and see if she could take her love for Japanese ceramics and translate that into a short course in clay.  Rebecca had never worked with clay at the beginning of June.  And I have to admit that there was a part of me that worried an awful lot about her.  So, never touched clay before June and works full time at a Canadian bank.  This is an independent study class.  We met over the summer but, until today, I had never seen any of her work glazed.  Rebecca was marked on her progress during the course.  From nothing to a beautiful bento box out of clay with a pressed bamboo motif.  It displayed an attention to detail and the colour that she choose worked well, pooling darker in the blades of the Asian grass.  I am hoping that she keeps working.

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Iris likes colour (and marbles melted onto her plates).  When I first met her, I said something about orange, possibly that it was not so popular a colour in ceramics, unlike blue which I was told once, ‘everybody loves’.  Iris chirped up and said, ‘I like orange’.  She also likes green, pink, and takes a lot of risks in terms of putting colour together.  Iris took other academic courses while working almost full time and also finding time to train new staff at Starbuck’s.  I want to add here that she gave me a new respect for the coffee chain because they provide benefits for their part time staff.  Tomorrow she goes back to being full time before classes resume in September.  Iris approaches her work as something she wants to use.  Because she has arthritis in her fingers, she presses in the sides of her tumblers so that she can grasp them easily and on her rice bowls she faceted the sides.  Look at the combination of the Reitz water blue on the interior of the pink tumblers.  Quite unique.

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It was my privilege to work with these five young women over the summer.  To see what a concentrated time on a single project can benefit their learning.  I wish each of the five of them the very best.  Please keep your eyes out for their work…they are the young rising ceramic stars.  This includes Selena who I hope we can lure back into clay!

Apologies for the photos.  The lack of any quality is all mine and I should add that because of the light this morning, some of the work really is much more beautiful in person.

Top row, left to right:  Selena’s five set mixing bowls, Jade’s teapot and bowls, Jade’s trinket bowl.  Second row:  Iris’s tea bowls, Sarah’s dragon stool, Sarah’s vases.Third row:  a close up of Iris’s fluted tea bowls, Iris’s pink plate with marble, Selena’s mugs.  Last row:  Jade’s mugs, Rebecca’s bamboo box, Sara’s second porcelain stool with female mythology.

Top image:  Rebecca’s bamboo bento box and 2 pinched tea cups

“Viagra Wood Firing: Mine is the biggest and the dirtiest and I fire the longest”.

The quote is from the Australian ceramist, Paul Davis.  Markus Boehm told it to me and it fits my talk at the Third European Wood Firing Conference in LeBorn perfectly.  If you know Paul Davis (great guy, great sense of humour), you will understand that this statement was partly made in jest.  Still, for many, wood firing is all part of the male realm and the building of wood kilns and the firing of them has to be the biggest, the longest, and the dirtiest consuming vast quantities of wood for days and weeks.  As the School of Art and I began to plan for a new wood kiln that would be a learning tool, large kilns with firing schedules more than twelve hours were rejected.  We wanted a kiln that the students could fire in less than a day and fire so often that they could learn through experience.  There was also a huge desire to be kinder to Mother Earth.

Does anyone out there think that this would be a controversial issue?

Over the course of my research on the impact of the Vietnam resisters on Canadian ceramics, it became very clear that many of the men who immigrated believed and still understand that the women who came with them – whether it was a supportive partner, sister, mom, or friend – gave up nothing.  I was told so many times that the women could go back and forth freely without fear of going to jail that I almost took those statements for granted.  But, it is not true.  I was one of those women.  I left behind a very elderly grandmother who had raised me, my parents, and friends.  Others left behind careers, studios, and commissions.  The voices of those women were quite literally silenced.

There are only two Japanese women who fire with wood.  Why?  There is an ancient myth that the kilns will blow up if the women take part in the firing process.  Really?

Ironically, if you look at the percentage of women firing wood kilns, many alone, in Germany’s Mecklenburg-Vorpommern region, north of Berlin, you will discover that there are more women firing wood kilns than men.  Over the years I have been fortunate to meet some of these talented individuals and I am grateful.  They have shown me that women can manage trees, cut them down, haul them to the area for cutting, stacking, and drying.  And, finally, they can fuel their kilns with these logs.  Ute Dreist is only one of many women working in the field.  Others include Birke Kastner, Charis Lober, Katrin Otolski, Angelika Reich, Silwia Barke, Regine Schonemann, and Christiane Lambertz amongst others.  There are similar percentages in other parts of Northern Europe, France, and Scandinavia.  Indeed, a survey in Canada shows that the number of women who choose to wood fire their ceramics is growing steadily.

So what is the problem?  Is it just me?  Or is the books and the journals in North America that continue to feature more men than women?  How about exhibitions that focus solely on wood fired vessels or sculpture?  It is the same.  This is surely bothersome.  In ceramics classes across Canada today, the vast majority are female students.  Last year I had only one male student out of twenty-one in my class.  There are currently no male students registered in my fall wood firing class.  I haven’t gotten to the point – yet- where I am going to start to count the number of women featured in journals, books, and exhibitions like the Guerrilla Girls did when they took on the New York City Fine Art establishment and started a movement —- but I am almost there.  The examples of wood fired work in the display cases at the School of Art have only the work of men.  So who are these young women to look up to? And who is giving these young students ‘their’ vision of wood fired ceramics?

It all comes back to the featured image of the new wood kiln.  The whispers behind my back were not only about the size of the kiln but its style along with great disbelief that a kiln could be built and fired in a week.  I mean the ole’ girl went off her rocker, right?  That is the male view.  And it is that male view that is dominant in Canada.  If I could take these young women and transport them to see Priscilla Mouritzen firing a similar wood kiln or let them have coffee with Julia Nema, then they would have some role models.  But, in Canada and especially in the Prairies where we don’t have anything but planted trees, the ideal kiln is the anagama.  Apparently there are at least twelve of them in the neighbouring province of Saskatchewan.  Now, I have nothing against these medieval Japanese kilns who hurl smoke in the air and consume large quantities of wood except for just that – they hurl vast amounts of black smoke in the air, consumming larger and larger quantities of wood.  There are alternatives.  Paul Davis, who studied in Japan for years, will tell you that there are a lot of “ugly brown pots” coming out of those anagamas.  So why are they so privileged?  I wonder.

Stay tuned.  This whole issue was being discussed by some men back in 1973 including Fred Olsen.

 

 

 

 

 

Friday: Day 8 Markus Boehm gives an artist talk for the workshop participants

Thursday afternoon Markus was checking the state of the ember bed in the firebox of the kiln he designed for the School of Art.  For those who have been reading this blog, you will know that we set out to build a new Bourry Box for the ceramics students that would be highly efficient to fire.  Our deadline was building the kiln and firing it in 7 days.  The team succeeded.  A visitor today asked me how I felt.  My first response was ‘Vindicated’ because no one believed that this could really happen.  But what I really feel, after the adrenalin rush of the success, is sheer joy for the students who will enjoy the dedication and hard work of the team for years to come.  Now we need a kiln shed, a cover for the wood, and a secure area where we can pre-heat this kiln.

The Danish White clay we have been using withstood the high temperatures and the flashing from the wood created a rich rust colour on the unglazed surfaces of the test rings.

Today, Markus gave an artist talk about the evolution of his work, the importance of knowing the tea ceremony in order to make tea bowls and the difference in training between Canada and Germany.

Tomorrow we open the kiln after lunch.  Markus will discuss the results with everyone, wares will be packed and the workshop will officially be over.  What a fantastic ten days.

Happy Canada Day everyone!

Kiln Pre-Heat, Full firing tomorrow!

When you have a kiln building workshop, many things can happen.  This firing has been ‘blessed’ as we have averted so many disasters.  It was pouring for hours in South Osborne last Saturday (if it was Sunday, apologies as the days are beginning to run together) and we had only enough small drops to cool us off at the University.  But, last night, it was the reverse.  It poured and there was lightening.  Still, things were ‘not so bad’.  Then through a couple of heavy-duty miscommunications with the log provider and a hard drive that had crashed with supporting messages gone into the ether, we had to live with an assortment of logs instead of ones 1 metre long or 3 metres long.  But, give it up to the group to just say ‘hey, things happen’.  They all deserve several days at Thermae Spa here in the ‘peg.  I wish I had free passes for them.

Ah, and there is something very different in pre-heating a kiln in Canada and one in the EU.  Regulations require a propane torch with a thermocouple and a safety valve in the EU.  In other words, you do not have to babysit the burner all night long.  The folks over at Physical Plant looked – I think every department got involved from Plumbing to Heating trying to help me find a remedy.  We do have safety valves on the new tanks but this is on the torch itself.  I think when I go to the European Wood Fire Conference in LeBorne, France in August, I will pick one up for us.  It would be so nice to skip one step.  Still, there will be other security issues that might not allow a burner to be left unattended in a public building anyway.

Everyone was busy working on one thing or another today to make this firing on time.  Tomorrow, the Director delivers pizza and Caesar Salad and, somehow, this evening I got a second wind and made lemon rosemary cupcakes.  It will be hot so here’s hoping the icing will stand up.  Speaking of standing up, everyone learned on day 1 to wear a hat in the sun.  Did I?  Today, 5 hours out there sent me home with one of those ‘you idiot you didn’t wear a hat, you had too much sun and got dehydrated sick feelings’.  Tomorrow will be another day – with a hat.  More photos of the action to come.  Send us all your good wishes for the kiln firing as sweet as we think it will – and please send the rain somewhere it is needed, at least until late tomorrow night.