m a s t e r w o r k s e a s t touring march-october 2009 INTRODUCTION The Ontario Crafts Council is pleased to present stitutions; improve online programming (podcasts/ Masterworks East, a juried exhibition that explores webcasts and webinars for members); and seek and the masterful works of our eastern regional mem- apply for new funding opportunities to sustain re- bers. The works were juried by Penelope Kokkinos, gional operations. Micheala Wolfert, and Megan Lafrèniere, who as- sessed the submissions based on craftsmanship (both Imperative to this project is our goal of growing an technique and workmanship), individual expression interested and engaged public, who appreciate and (originality/creativity/aesthetics), and innovation. have an appetite for contemporary Canadian craft. Masterworks East is an exciting component of our Exhibitions play a profound role in developing such Growing Ontario’s Craft Community project. This an audience; through Masterworks East we provide project divided amongst three regions of eastern, our members with opportunities to show and sell south-western, and northern Ontario, over three- their work, receive promotion and further their pro- years, will allow the OCC to: present professional fessional careers. At the same time, Masterworks development workshops/conference and exhibition East provides our members, the craft community programming; consult with people from the region; and the greater public with a platform on which to hire regional representatives from said regions; open engage craft as its own unique discourse. It offers new doors and partnerships; create new markets; craft as a challenging, playful, and educational ex- improve communications; expand critical discourse perience and supports our belief that craft is a criti- on craft; increased partnerships with educational in- cal component of our communities and culture. 2 Masterworks East, with five scheduled stops around eastern Ontario, is intended to increase knowledge and appreciation about fine craft, while at the same time expand our partnerships with galleries, guilds, educational institutions and museums. We extend our heartfelt thanks to all the artists who submitted to our call for entry, our regional coordinator Sara Washbush, exhibition support team Janna Heimstra and Laura Rea, Ontario Craft Council president Mark Lewis and the board of di- rectors, volunteers of the eastern regional advisory committee, the receiving institutions, the support- ing foundations and granting organizations, all of whom were integral to this project. Emma Quin Executive Director Ontario Crafts Council Brad Copping, Distill. Glass with steel shelf. 16 cm h x 13 cm w x 13 cm d. 3 ExHIBITING ExCELLENCE WITHIN THE REALM OF CONTEMPORARY CRAFT Masterworks East showcases the diverse and out- trade background. Yet, all have devoted something standing craft objects currently found within the specific to their creative pursuits—time. Without eastern Ontario region. It celebrates the materials of time there can be no skill development; there can the maker: metal, wood, clay, fibre, glass and more, be no refinement and honed vision. while putting the spotlight onto the makers them- selves. The juried contributors to this exhibition In a positive way, craft is challenging from the van- come from all over the region, from rural studios to tage point of the maker. For functional makers, city environments, with varying paths that lead them such as Bill Reddick, the test is to utilize lessons of to create in their materials of choice. The objects tradition while carefully balancing design needs of achieve their master status in a variety ways—some function and aesthetics. For other makers, such as through beauty, others through function or concept, Karina Bergmans and Susan Valyi, with no particular and it is this mixture that makes this show so engag- allegiance to tradition, they find challenge in gather- ing. ing and combining materials, using this process as part of their creative muse. The masters of this exhibition entered craft from many different paths. Some have university degrees Craft can also be challenging from the perspective in art or have taken focused courses in a specific of the viewer. There is a recurrent misunderstanding craft medium. Others are self-taught. Some, such that all craft is easy to comprehend and that anyone as Heather Inwood-Montrose and Norman Pirollo can do it; yet, craft also wants to push the creative have entered their material through an industrial or envelope and break new ground. The result can be 4 objects that people might not understand without further investigation. With that, the viewers should be encouraged to look deeper into meanings of the object to discover the layers of importance. Overall, this exhibition displays many strong voices within the realm of contemporary craft. The exam- ples of the works, diverse as ever, are unified in that they achieve the reputation of craft as art—objects so potent that they are valued beyond the sum total of labour hours and material costs. I am proud to say that our region has much to offer in talent, and that we should all look closer and celebrate the cre- ativity present in our own backyards. Sara Washbush Eastern Regional Coordinator Ontario Crafts Council Andrea Graham, Untitled (pods). Felted wool fibre (set of 6 sculptural group). 109 cm h x 59 cm w x 13 cm d. 5 THOUGHTS FROM THE JURORS Intelligent, uplifting, complex, provocative and witty With such a diversity of submissions, the jurors are a few words that came to mind when revisiting sought to keep in mind the context of each item an afternoon spent viewing and discussing the many as a part of the greater whole of the exhibition. images of fine craft submissions for Masterworks East. “Boundary pushing” entered into the discussion as a term used to define a push-pull interplay of ideas The selection criterion for this exhibition was an and techniques. In a sense, craft objects were seen amalgam of four categories: craftsmanship, includ- as functional objects as well as communicators of ing technique and workmanship; individual expres- meaning. Ceramics, wood, metal, fibre, glass and sion where originality and creativity were assessed; other materials functioned as conveyers of beauty, aesthetics; and finally innovation. While naturally curiosity, and attraction, as well as non attraction. taking into account the work itself, the jurors also These attributes coaxed or pushed the jury into gave equal importance to the craftsperson’s state- connecting with the objects through an exploration ment describing the intentions and motivations of messages, meanings, mysteries and materials. behind each object. This was particularly important in that many of the pieces submitted for the exhibi- In essence, through engaging with Masterworks tion departed from the traditional idea of craft as a East entries, it appeared that many craftspeople process tied to the use of a single material, where create objects as holding places for vital experiences some makers introduced the use of mixed media, and memories. Craft seems to convey a sense of assemblage, hybridity and layering as alternative comfort through a familiarity of use, while at the ways to express contemporary cultural concerns. same time, other works were forward thinking 6 objects giving shape to future desires. Overall, the entries confirmed craft as embodying precious expressions of social interaction, and the ability to share these expressions with the world. Masterworks East honours the current integrity, wit and outrageously marvelous craft production of craftspeople in Eastern Ontario. We recommend that such an exhibition be repeated every few years in order to further the public’s material awareness and celebrate the evolution of regional craftspeople’s insights and technical finesse. Congratulations to all who entered! Penelope Kokkinos Micheala Wolfert Megan Lafrèniere Susie Osler, Pillow Dream. Textile, plaster, glass, ceramic (porcelain). 18 cm h x 36 cm w x 18 cm d 7 Selected r w o m a s t e workS r k s e a s t touring march-october 2009 A J U R I E D T R AV E L L I N G E x H I B I T I O N O F C O N T E M P O R A R Y C R A F T I N E A S T E R N O N TA R I O 8 KAREL AELTERMAN Gatineau, QC – I work with wood in a peaceful and intimate workshop, surrounded by nature. I use my sensitivity and creativity to produce works of art that allow people to add beauty to their daily lives. By doing so, I hope to transmit a sparkle of my passion for the poetry of wood. My construction techniques build on longstanding traditions, yet the forms I create are both contem- porary and refined. Inspiration comes from a variety of sources such as nature or the objects around me. I use both local and exotic species in order to find combinations of colors and textures that are always chosen for balance, harmony and simplicity. I favour a humble approach to the design work; my task is simply to underline the inherent beauty of wood with forms that inspire calmness and serenity. Karel Aelterman, Cherry Side Table. Cherry, ebony, holly. 56 cm h x 33 cm w x 33 cm d. 9 HANNA BACK Harington, ON – In my work in clay, I have been continuously fascinated by the formation of space, whether as a pot, a vase, architectural forms or sculpture. Currently I am exploring the evolution of space from the most simple of beginnings. I start with two slabs of clay and place them in relation to each other. This leads to seemingly endless variations of tensions and their resolutions as they determine/ define the space between and around them evoking stability as well as movement. The work reflects the tension which forms and in- forms all relationships, particularly human relation- ships. Hanna Back, Closing In. Paperclay. 109 cm h x 59 cm w x 13 cm d. 8 ALANNA BAIRD Ottawa, ON –I have worked with clay off and on for the past 31 years, often exploring fish motifs in decoration and form. I have lived on the shore of the Bay of Fundy for most of those years, and still feel its strong tidal pull. My fish have evolved over the past 17 years and new materials have been explored. This combination of a seemingly worthless material into a shiny armored fish is a metamorphosis. This results in a re-evaluation of material and a surprise for most viewers. The viewer is taken beyond the material by shape and beauty, but is at the same time reminded of the issues of our environment. Alanna Baird, Percichthys trucha (Perch Trout). Tin sculpture with wood base. 33 cm h x 26 cm w x 64 cm l. 9 KARINA BERGMANS Ottawa, ON – I am compelled as a creator to invent new ways of constructing art objects. I pillage con- ventional approaches to craft to create hybridized forms. I thrive on redirecting the original purpose of material and recontextualizing it through concept. What unifies my diverse artistic practice is the inces- sant use of reclaimed fiber and materials. Lately, I’ve been creating fibre sculptures that resem- ble Organs or Organisms. I have been researching amoebas, anoemes, flagellas, mitochondrias, and nuclei. This theme points to the current state of sci- entific progress: stem cell research, biological war- fare, threats of pathogens, bacteria and viruses. Karina Bergmans, Positus Navitus (Positive Energy). String, wool, wire, assorted textiles, cardboard, plaster, paint. 36 cm h x 26 cm w x 36 cm d. 8 PHILIP SAMUEL BLACK Rockcliffe, ON – Currently, my work in clay is a de- parture from glaze, colour and perfection. To me, imperfection is perfection. To satisfy my creativity, my pots and sculptures must look “dug up.” They must look as if they have been buried for years. My interpretation of the human form dominates my sculptural pieces. Philip Samuel Black, Screams. Smoke fired earthenware, driftwood. 26 cm h x 15 cm w x 21 cm d. 9 JUDY BREAU Minden, ON – I live on the face of the Canadian Shield where endurance is etched into every sur- face.Deep grooves in the bedrock bear testament to the force of nature. Yet, over centuries, lush wet- lands have blanketed this area, softening, like brush strokes, the devastating impact of glacial movement, creating harmony. Following nature’s example, I want my art to cele- brate duality: to couple the stasis of inertia with the dynamism of colour; a smooth, brittle glaze with the organic texture of stone; the translucent with the obscure. This is the nature of mosaics: to juxtapose, piece by piece, our elemental experience and to en- dure. Judy Breau, Astir. Mixed media mosaics. 53 cm h x 53 cm w. 8 MIMI CABRI Ottawa, ON – Nothing has such “go” as working with clay. I love it. I’ve always sensed this urgency with clay and have spent most of my life working with it in my studio at home in Ottawa. Drawing to me is an essential way of thinking, and permeates my work in clay. I would be so pleased if my enjoy- ment in the process of making were sensed by those viewing the work. Mimi Cabri, In the Golden/Pink Wave of Your Hair, You Run With the Birds. Red clay. 46 cm h x 46 cm w x 1 cm d. 9 WENDY CAIN Newburg, ON – Working with the practice of hand- made paper allows for the materiality of the process to partner with me in the creation of my works. I harvest plant material from my garden on the day of production. I use this material as stencils in sequence with different coloured pulps. The challenge comes with this layering, as all the masks stay in place until completion so there is always an element of surprise when they are removed. I find that people are comfortable with the idea of dry, crisp paper but that they are often confounded with the information that paper can be used as a painting technique. The challenge is the unpredict- able factor that keeps me returning the studio again and again. Wendy Cain, Untitled. Handmade paper, pulp spray, stencil. 60 cm h x 69 cm w. 8 BRAD COPPING Apsley, ON – I have often used glass to create meta- phores for water, reflecting on journeys taken and connections made, as well as the place that I live. This recent series of pieces are called Cup Sketches. The cup is a small, intimate vessel. It is an object, which functions primarily as a device for collecting and consuming liquids, physically connecting us to the natural world but also holding it at some remove. In this work it also acts as a lens to focus attention, allowing me to attempt, once again, to illuminate something about this relationship. Brad Copping, Sunk. Glass with steel shelf. 14 cm h x 13 cm w x 13 cm d. 9 CAIRN CUNNANE Ottawa, ON – Using blacksmith techniques, I shape, form, and distort metal. Presently I am exploring crossovers of figurative, architectural, and plant forms. Most of my work is created for specific peo- ple, places, or ideas, and ranges from hand held to large architectural installations. Cairn Cunnane, Head Study #9. Forged iron. 27 cm h x 7 cm w x 7 cm d. 8 KEVIN DUNLOP Haliburton, ON – I am inspired by the peace and con- tentment that I find in nature. During the process of creating my images, I am able to revisit and linger in a state of mind that I find very restful and revital- izing. The process of marquetry is slow and labour inten- sive. My challenge is to sustain the creative spark over hundreds of hours while I nurture an idea from inspiration to completion. I need to let go of all de- sire for a finished product, and settle into the pro- cess itself. During the time required to find the per- fect piece of wood to portray a mood or a texture and then cut and piece it into the larger mosaic, all the frantic concerns of a hectic world fall away. It becomes a form of meditation. Kevin Dunlop, A Walk in the Back Woods. Various woods (marquettry). 108 cm h x 158 cm w. 9 CHARLES FUNNELL Cobourg, ON – Much of my work in both jewellery and silversmithing strives to eliminate extraneous el- ements in the search for purity or the essence of a form. I create undulating lines and flowing curving forms to accentuate a feeling of energetic move- ment. Philosophically, I simply desire to push beyond my self-imposed boundaries; to constantly evolve, grow and interpret as an artist. It is through the process of problem solving or contemplation that I find clarity and inspiration. Charles Funnell, Timeless. Sterling silver, married metals, copper, brass, bronze, pearls. Pendant 12 cm d, necklace 50 cm l. 8 ANDREA GRAHAM Odessa, ON – In my work, ambiguous sculptures express the paradox of living organisms: strength and fragility, persistence and surrender, liberation and containment. Open wounds and haphazard su- tures serve as metaphor for the victimization of our environment as a result of our consumer culture. In the cycle of growth and decay, environmental justice continues to be silently sought. My work awakens a sense of wonder in the potential of the smallest seed and organism for either success or failure. It is this precarious state and the need to nurture and protect that I wish the viewer to consid- er as they revisit their practices. The use of wool and the alchemy of feltmaking in my art allow me to use a sustainable material which is both consistent with my message and the organic nature of my work. Andrea Graham, Liberatio captivus. Felted wool fibre on wood (set of 3 sculptural group). 54 cm h x 43 cm w x 7.5 cm d. 9 FRANCE GRICE Ottawa, ON – Glass is a liquid suspended in time… it is transparent, translucent, opaque, colourful or colourless. It is a material that is heavy and resilient but also it can appear so light, even fragile. By play- ing with those elements I strive to create works that intrigue and enchant the viewer. France Grice, Elsa Needed a Dress 2. Kiln cast glasses and thermo formed glass copper mesh. 28 cm h x 20 cm w x 10 cm d. 8 JONATHAN HAGARTY Haliburton, ON – Since 2005 my work has involved the creation of a diverse collection of signs, podi- ums, totem poles, sculptures, musical instruments and abstract pieces all utilizing this medium. I often begin a piece with a picture in mind but am continu- ously humbled by the natural beauty in the grain of the wood. I love the sense of elation I feel when a piece takes over and I become lost in the creative process only to be inspired by the end result. It is my greatest hope that when people see my work they gain a strong sense of emotion whether it be to the piece itself or something it inspires within. Jonathan Hagarty, Bird of Paradise Lost. Carved reclaimed pine and copper/stone. 71 cm h x 41 cm w. 9 CHRISTY HALDANE Lakefield, ON – In 2000, I began working with recycled window glass. Through experimentation I discovered that this was a medium that fit my mini- malist modern aesthetic. Using a kiln I melt and fuse window glass creating simple forms, highlighting the qualities of the glass. The qualities differ depending on the methods I employ while working the glass to make each sculpture unique. Working in series, I combine the glass with other common building materials such as stone, concrete and steel to enhance the fragility and strength of the glass components. The wall mounted sculptures consider humanity’s effect on the environment and the precarious balance in which the natural and artificial environments exist. Christy Haldane, Direction Home Series #10 - Reflections. Field stones laminated with kiln cast window glass and stainless steel. 40 cm h x 76 cm w x 12 cm d. 8 STAR HORN Perth, ON – My work is created by hand, exploring a mix of century old traditional design with my own personal twist. While my artwork might at times ex- plore the heartache and sadness my Aboriginal cul- ture has endured, I often turn to my jewelry making to celebrate the beauty, originality and wonderful artistic expression that my people have maintained. The act of sitting together with family members, in particular, my mother, and re creating and expanding on the traditional regalia is in itself an act of love and honour for me. Proud to be able to bring to life what many believe only exists in old photos and movies, I hope to make both Aboriginal and non-Aboriginal people see with their eyes and feel with their hands an evolving art form. Star Horn, Nez Perce Style Necklace with Heshie Shell. Cebu beauty shell, beads, leather, stones and tin jingles. 31 cm l x 15 cm w. 9 HEATHER INWOOD-MONTROSE Bancroft, ON – My passion for detail is evident in my creations. Each piece is rich with symbolism and recognizable landscapes. I draw inspiration from life, the people that cross my path, as well as from the natural beauty provided by the landscape of the Mineral Capitol of Canada, Bancroft, ON where I re- side. I would describe my art forms as biomorphic-- they take on a life of their own once I set the wheels in motion and shift form as is appropriate to each piece. I prefer metal as a medium because of its versatility and strength – qualities I strive to cultivate. Heather Inwood-Montrose, Growth. Bronze detaied copper (freehand with oxy-fuel torches). 45.5 cm h x 25.5 cm w. 8 JULIE LOCKAU Bancroft, ON – In past times our grandmothers sewed by hand, and this tradition is not forgotten. All of the art pieces that I make are hand-sewn, using bright coloured upholstery thread to draw attention to the detail and care that goes into each work. This piece came to be inspired by the process of ori- gami. Using brightly coloured wood dyes to enhance the natural beauty of the birch bark, split and peeled roots and recycled plastics, time and patience was all that was needed to create this wonderful work. Julie Lockau, Luna Moth. Fibre, bark (dyed), roots, upholstery thread. recycled plastic. 109 cm h x 46 cm w x 15 cm d. 9 KIRK MCEATHRON Whitney, ON – Each burl is unique, having its own quality and character. I select individual burls for the possibilities they hold. Through careful hand carving, the bulky, unrefined surface takes on fluid, almost translucent quality and uncovers the grain hidden below. As no two burls are identical, there is no formula to follow. Limited pieces are created each year and sold readily to private collectors. Kirk McEathron, Sculpted Yellow Birch Burl. Yellow Birch. 26 cm h x 56 cm w x 43 cm d. 8 PAULA MURRAY Chelsea, QC – I think of art as a set of relationships. My creative process is symbolic of the tenuous re- lationship between man and the environment. The cracking and movement in the work is the result of the manipulation of the potter and the tension between the porcelain dug from the earth and the industrially made fibreglass. A bowl wraps itself around space suggesting interplay of associations. Is it a peel of birch bark, a marine shell, a dried leaf? I am drawn to the mystery of the nature of reality, that invisible boundary between the physical and spiritual worlds. Paula Murray, Cradled Earth. Porcelain and steel. 23 cm h x 56 cm l x 18 cm d. 9 CYNTHIA O’BRIEN Ottawa, ON – As humans we tend to base our rela- tionships on emotion. The natural world bases rela- tionships on survival. I enjoy mirroring my emotional trials with that of nature’s unquestioning cycle of birth, survival and death. Cynthia O’Brien, Elimination Dance #1. Clay. 20 cm h x 20 cm w x 122 cm l. 8 SUSIE OSLER Maberly, ON – These pieces were made as part of a series called Homestead (2008). They were inspired both by my surrounding in rural Ontario, and in my reflecting on the various skills and (pre) occupations, that the early homesteaders must have had, such as cooking, animal husbandry, sewing and textile arts, fieldwork, feed storage and so on. Susie Osler, Sheepfold. Textile, clay (porcelain). 18 cm h x 19 cm w x 19 cm d. 9 NORMAN PIROLLA Ottawa, ON – The style of furniture I create has sim- ple, clean contemporary lines. Woods are selected to provide dramatic effect. My furniture and art objects are designed around both form and function. My design methodology has modern lines and I strive to create unique pieces of furniture incorporat- ing rectilinear and curvilinear design. Most recently I have delved into mixed media, wood and metal. All wood objects and furniture that I create are com- posed of solid woods and metal, veneers used if the wood is not available in solid form. Many exotic woods are today on the endangered list, and I re- frain from using these woods in solid form. Norman Pirolla, Trinity(side table). Cherry, maple, metal, wood. 20 cm h x 33 cm w x 41 cm d. 8 PAUL PORTELLI Hastings, ON – I am dedicated to using time-hon- oured, traditional methods and materials. This is not to say that the outcome is traditional. My figurate work is a study in spiritualism, drawing my inspira- tion from myths and stories found in all forms of re- ligion and mythology. It is greatly influenced by the Neo Classic movement of the 19th century. More recently, natural forms take precedence in my work, studying and being influenced by the abundance of nature that surrounds my studio. These influences are developed into bird studies and rebirth as seen in the seasonal changes that surround me, striving to combine my classical training with more contempo- rary approaches to my surroundings. Paul Portelli, Emerge. Low fire terra cotta - cold finish. 32 cm h x 21 cm w x 10 cm d. 9 SHEREE RASMUSSEN Castelton, ON – I love the complex play of colour and movement and that is simply what my work is about. I have always appreciated textiles, probably because my mother sewed, and dressed me in fabulous out- fits. I studied dance, and my pieces represent a kind of choreography. I am excited by the process of working with the initial chaos of colours and shapes, and taming them into a harmonious re- lationship. My past work focused on loom weaving, enjoying working within the mathematical confines of the loom, and pushing its limits. In my current work, appliquéing fabric pieces onto a felt background, I have broken free of those constraints, using the fab- ric pieces almost like paint, my scissors like a brush, giving my imagination complete freedom of move- ment and expression. Sheree Rasmussen, Enter the Queen. Mixed fabrics, machine appliqued on felt. 32 cm h x 21 cm w x 10 cm d. 10 BILL REDDICK Picton, ON – I am a potter whose work is informed by the ancient Chinese ceramic tradition of the Song (960-1260) and early Ming Dynasties. I use my evolv- ing mastery of technique to modulate process and explore how it is possible to express or reveal beauty in new ways within the confines of the tradition. I work with true porcelain on a potter’s wheel fired in reduction to 1300 degrees Celsius. I re-create the classical Chinese glazes. These are the physical re- alities which set the parameters for a language of expression. The tradition is about transcendence and purity and ultimately speaks about the Divine. A successful ob- ject then becomes the transmitter of the history of its creation and of the passion of its maker and the pre-history of both. Bill Reddick, Teapot with Geese. Porcelain, stoneware. 23 cm h x 31 cm w x 18 cm d. 11 RICHARD SKROBECKI Almonte, ON – My work is primarily wheel-thrown using red earthenware clay and is referred to as slip- ware, defined by the application of white slip over a dark clay body. Drawing is incised through the slip, wrapping around to enhance forms. Organic imag- ery is stylized, becoming both familiar and strange, aiming to convey the joyful curiosity of living. Creating items of function and beauty in three di- mensions is an alluring prospect. I often look to his- torical pottery for items of specific use to re-form in my own way. Tradition, the permanence of materi- als and knowledge of user appreciation, gives me a feeling of belonging and of participation in a history- rich craft. Richard Skrobecki, Poppies - lidded jardiniere. Thrown and altered red earthenware with underglazes, sgraffito, glaze. 20 cm h x 22 cm w x 21 cm d 12 CARL STEWART Ottawa, ON – belated is a series of portraits, based on an iconic family photo, intended as a 40th birth- day present for my brother who was struck by a car and killed when he was three years old. memoria 1, the first of 20 cross-stitch portraits, is dark blue on white, the fabric deliberately folded and creased. Subsequent memoria will be stitched in gradually lighter hues on white, the fabric less creased with the final piece stitched white-on-white, the fabric perfectly flat. Exploiting the qualities inherent in the fabric, memoria evokes the fragility and fallibility of memory. Carl Stewart, memoria I from belated. Cross stitch, cotton. 59 cm h x 46 cm w x 5 cm d. 13 DIANE SULLIVAN Williamsburg, ON – The creative process reveals our origins as human beings. The visceral quality of clay work emphasizes this connection, with vessels reso- nating to the human form, and the alchemy of trans- formation through fire evoking the passage into life. I strive to celebrate this ancient form of communica- tion by creating objects that suggest the history of man while embracing the creative energy of nature. My work is steeped in the history of the Orient as well as European decorative ceramics. The surfaces are decorative interpretations of the procreative life cycle. Through my work I strive for a balance be- tween nature and culture. Diane Sullivan, Clouds. Ceramic. 66 cm w x 36 cm h x 9 cm d. 14 CHANDLER SWAIN Almonte, ON – My work has been a culmination of years of exploring painterly ideas in clay. For me the 3 dimensional aspect of a vessel offers many options for exploration. Over the years I have tried to listen to the clay and not dominate it. The drive to be intuitive and with the clay and produce sensitive nar- ratives rather is the driving force in my work. Children’s paintings on big pieces of newsprint ex- cite me. The innocence and pure delight in making marks (even in clay) is the key. This is the work of the artist: to make work that is fresh and vital and has a clear voice full of intuitive understanding of the poetry of making. Chandler Swain, Blue Star. Porcelain, stain, glaze. 53 cm h x 24 cm w x 24 cm d 15 JANE THELWELL Kingston, ON – We often monumentalize people and objects to draw attention to their admirable qualities, i.e., cenotaphs. We often miniaturize ob- jects to make them accessible as souvenir objects, i.e., key chains of the CN Tower. This work explores aspects of material culture from both today and the mid-1800’s, as well as issues of the souvenir. In the 1850’s, both the country of Canada and the technology of photography as an artistic medium were in their infancy. The images displayed are old- fashioned carte-de-visite sized photos of the monu- ment to Sir John A MacDonald in City Park in Kings- ton, the first Capital of Canada. These photographic cards were meant as keepsakes or souvenirs. The white fragile surface of porcelain hosts the photo and granite-like glaze on the sides of the boxes pro- vide the enduring base expected of monuments. Jane Thelwell, MacMonu Miniature. Porcelain, plywood. 90 cm h x 18 cm w x 6 cm d 16 LAURA TRACH Minden, ON – I started with fabric as a young girl by sewing and making clothes, yet it was not until fur- ther into my life that I was introduced to textile art. My passion for fabric re-emerged and was joined with fibre, thread, leather, dye and paint. My inspiration comes from the world around me while my technique comes from a lifetime of work- ing and experimenting with cloth. When I am work- ing I try to recapture the feeling I get when I am surrounded by beauty-- texture, light, and colour combining in an endless array. Laura Trach, Spring. Fibre, hand dyed, embellished 89 cm h x 64 cm w x 30 cm d 17 SUSAN VALYI St. Eugene, ON – My current work explores meta- morphic human/animal postures that are both an- thropomorphic and mythical. I’m inspired by quirky figurative gesture and emotion. My materials and methods serve my work process. Wood suits me. Scavenging suits me. Hard physical labour suits me. My current constructions are joined with resin. I build up shapes like fitting a puzzle to- gether, guided by my sketches. The finished pieces are oiled and sometimes white-washed, then pol- ished to a smooth but textured patina which reveals the underlying mosaic of wood. I believe the art I create is a reflection of my life’s visual memory. Everything I see is banked, analyzed and edited leaving me with something like a per- sonal museum of influences. Susan Valyi, Buzz. Wood with old enamel pot, mosaic with resin and saw blade. 52 cm h x 48 cm w x 32 cm d. Susan Valyi, Barry’s Chain. Old painted wood, chain and resin 18 120 cm h x 104 cm w x 3 cm d. MARY EV WYATT Kingston, ON – “Opening to the Sky” is a medita- tion on faith, hope, love and out search for renewal in solitude. I use simple tools: a threaded needle and stitching fabric. My fabric can be hand-dyed, felted, layered or commercial. I use a wide range of threads and cords. I bond, burn, collage, bleach, embellish and fuse as I work with colour, shape and images to cap- ture moods and communicate ideas. Mary Ev Wyatt, Opening to the Sky. Sheer fabric overlaid on felt, burned openings, surface embroidery with beading and Mexican religious icons. 32 cm h x 26 cm w. 19 SHEILA ZIMAN Haliburton, ON – I have always enjoyed walking in Haliburton County. Gathering materials for bas- kets has been a pleasure, and in the process I have learned more about the environment and the history of this County. Vines of hops planted by the pioneers to flavour their beer and still clinging tenaciously to old split-rail fences have found their way into my baskets. Grass- es and sedges gleaming golden in the fields, Virginia Creeper spilling over low bushes and hugging gravel roads, wild buckwheat trailing long red runners un- der fallen trees and over boulders, branches of wil- low, dogwood and black cherry arching towards the sun have all wound their way into my baskets. I am also interested in traditional First Nations’ porcupine quillwork on birch bark and design unique lids for my baskets combining age-old Native motifs with my own. Sheila Ziman, Growth. Basketry, wood. 38 cm h x 29 cm w x 75 cm l. Photo credit, Cory Pietryszyn. 20 Ontario Crafts Council Supporting craftspeople and advocating on behalf of craft for over thirty years. As a dynamic, member-based, not-for-profit arts service organization, the OCC exists to significantly grow recognition and appreciation of craft and craftspeople by building a strong, talented, distinct craft community and acting as an advocate on its behalf. Charitable tax number: 11887 8511 RR 0001 Ontario Crafts Council Gallery & Administrative Office 990 Queen Street West Toronto, Ontario, Canada M6J 1H1 T: 416-925-4222 F: 416-925-4222 email@example.com Catalogue design by Laura Rea. the ontario crafts council gratefully acknowledges the support of the ontario Arts council, the ontario trillium Foundation, the Mclean Foundation and the Henry white kinnear Foundation for Growing ontario’s craft community.