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					m a s t e r w o r k s   e a s t
             touring march-october 2009

    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.

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.


    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

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.


    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

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

    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

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.

    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-

    Hanna Back, Closing In. Paperclay. 109 cm h x 59 cm w x 13 cm d.

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.

    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.

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.

    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-

    Judy Breau, Astir. Mixed media mosaics. 53 cm h x 53 cm w.

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.

    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.

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.

    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.

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-

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.

    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-
     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.

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.

    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.

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.

    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.

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.

    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-

    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.

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.

    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.

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.

    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.

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.

    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.

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.

     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-

     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.

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

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.

     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

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

Carl Stewart, memoria I from belated. Cross stitch, cotton.
59 cm h x 46 cm w x 5 cm d.

     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.

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

     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

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

     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.
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.

     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.
               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

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.

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