VOLUME 42 Number 1 | MAY 2018

FUSIONA MAGAZINE FOR CLAY AND GLASSFUSION

A MAGAZINE FOR CLAY AND GLASS

Advertising: FUSION
Editor: Margot Lettner
Design & Production: Derek Chung Communications
Date of Issue: May 2018
FUSION Magazine is published threetimes yearly by FUSION: The Ontario
Clay and Glass Association © 2018.
All rights reserved. ISSN 0832-9656;
in Canadian Periodical Index. The
views expressed by contributors are
not necessarily those of FUSION. Website links are
based on best available information as of issue date.
Please address editorial material tofusion.editor@clayandglass.on.ca. or to FUSION
Magazine, 1444 Queen Street East, Toronto, Ontario,
Canada M4L 1E1.
FUSION Magazine subscription is a benefit of
FUSION membership and is included in membershipfees. FUSION Magazine subscriptions are alsoavailable. To apply for a FUSION membership, or topurchase a one year subscription (three issues),
please visit www.clayandglass.on.ca/page-752463 fordetails. Back issues are available.
FUSION is a not-for-profit, registered charitableorganization (122093826 RR0001).
We do not make our subscribers’ names available toanyone else.
FUSION BOARD OF DIRECTORS 2017-2018
President
Vice President
Past President
Secretary
Database and Website
Treasurer
Nominations/
Scholarships and Awards
Conference
Mentorship
Magazine
Workshops
Clay and Glass Show
Creative Directions
Development
Fireworks
Glass Programming
Membership/
Guild Engagement

Chris Snedden
Ann Allen
Barbara Banfield
Gene Timpany
Gene Timpany
Ann Allen

IN THIS ISSUE
Editor’s Note
Margot Lettner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Japan Now: A Three-Part Exhibition of Contemporary Japanese Ceramics
at the Gardiner Museum, Toronto
Joan B. Mirviss and Meredith Chilton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
A Dance with Clay: Harlan House
Heidi McKenzie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Hidden Complexities: Ceramic Vessels from the Department of Mines
Heather Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Pinholes in Glazes: Optimal Clay and Kiln Conditions
Ron Roy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Linda Sormin: Fierce Passengers
Kim Lulashnyk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Barbara Banfield
Ann Allen
Barbara Banfield
Salina Szechtman
Ann Allen
Christopher Reid Flock
VacantGay Longo
VacantActing:Deborah Freeman
VacantNorthern Programming

VacantActing:Deborah Freeman
VacantExecutive Director
Office Administrator

Deborah Freeman
Jenanne Longman

Address:

1444 Queen Street East
Toronto, Ontario, Canada
M4L 1E1

Phone:
Fax:
E-mail:Website:416-438-8946
416-438-0192
fusion@clayandglass.on.ca
www.clayandglass.on.ca

FUSION gratefully acknowledges the assistance of theGovernment of Ontario through the Ministry of Culture, Tourism
and Recreation and the Ontario Arts Council.

FUSION Magazine Spotlight, Featured Emerging Artist – Glass
Mary Louise White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
FUSION Magazine Spotlight, Featured Emerging Artist – Ceramics
Naomi Clement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Carved In Stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

ON THE COVER
Nakamura Takuo (b.1945)
Vessel that is Not a Vessel, 2016
Glazed stoneware
10 5/8 x 16 7/8 x 9 1/4 in., 10 3/4 x 18 1/8 x
9 1/4 in.
Potter’s Mark: Takuo (painted on interior)Collection of the Gardiner Museum,G17.6.1
Image Credit: Richard Goodbody(see Joan B. Mirviss and Meredith Chilton,
Japan Now)c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 3

James Kemp

BREAKTHROUGHAn Exhibition of
FUSION’s
Emerging Artists
Robert Langen Gallery
Library Building
Wilfrid Laurier
University, Waterloo,
Ontario
June 1 – 29, 2018
Opening Reception
and Awards
June 22
4:30 – 6:30pm
BreakthroughP E T E R P O W N I N G + SA M A N T H A D IC K I E

FUSION CONFERENCE|
JUNE 22-24, 2018

WATERLOO, ONTARIO

Layne Verbeek
4 | F U S I O N M AG A Z I N E | Vo l u m e 4 2 N u m b e r 1 | c l a y a n d g l a s s . o n . c a

Editor’s NoteIn her poem “The Thing in the Gap-Stone Stile,” theBritish poet Alice Oswald takes us through a day inthe life of a known yet amorphous thing:
What I did do (I am a gap)
was lean these elbows on a walland sat on my hunkers pervading the boulders.
My pose became the pass across two kingdoms,
before behind antiphonal, my cavity the chord.

Vessels are enclosures for gaps. Clay or glass, vessels
hold space, offer soundings.
FUSION Magazine is a vessel and, since joining lastsummer as Editor, I’ve been taking soundings: meeting
many of you, imagining how the magazine might lookand read.
You’ll have noticed a few changes. We’ve built eachissue around a theme. We’ve introduced features about
artists and work that cross boundaries shaped bymaterials, time, and geography. Working with designer
Derek Chung, we’ve sharpened our graphic design;
and introduced embedded links to artist and gallery
websites, videos, and other references. With JenanneLongman, FUSION’s ofﬁce administrator, we’ve
welcomed new advertisers to our pages.
In January we asked you to take a moment with ourReaders’ Survey. Your response was terriﬁc, thank you.
We learned what you enjoy about reading FUSION —particularly what you want more of — as well as what
interests you less. You’re part of our renewal. Look forchanges ahead to make the magazine more relevant tocontemporary practice, more vibrant and diverse, morereadable. (And congratulations to Paul Stewart, winnerof the survey rafﬂe and a pass to the FUSION 2018
Winter Workshop, March 23-24.)
The May 2018 issue takes form as The Clay Issue.
We begin with two features on master contemporary
ceramicists: Joan B. Mirviss and Meredith Chilton’s
review of the exhibition of contemporary Japaneseceramic artists, Japan Now, at the Gardiner Museum;and Heidi McKenzie’s reﬂection on Canadian ceramicartist Harlan House, guest artist at the FUSION 2018
Winter Workshop.
You’ll ﬁnd an article by ROM Rebanks Postdoctoral
Fellow Heather Read about the museum’s collection ofvessels made from indigenous clay; paired with a tour,by Kim Lulashnyk, of Linda Sormin’s recent show at
CUAG, Fierce Passengers, which features Leda clay
indigenous to the Ottawa-Gatineau region. And we
introduce a “glaze talk” by Ron Roy, ﬁrst in a series ofhands-on practicums about technique.

And if all this sounds a bit too intentional, gaps canalso be playful. Alice has the last word:
I never absolutely told
the curl-horned cows to line up their gaze.
But it happened, so I let it be.
Margot Lettner
Editor(Excerpts from Alice Oswald, “The Thing in the GapStone Stile,” from the book of the same name, Oxford
University Press, 1996; London: Faber and Faber,2007.)

Rewrites

In Burning Down the House, January 2018 issue, thephoto of the work by Karla Rivera, Always between theﬁne line, 2017, should have been attributed to Karla
Rivera.

c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 5

JapanNow:

Fig 2Kondō Takahiro (b. 1958)
Monolith, 2017
Glazed porcelain, silver mist
overglaze, cast glass
42 1/2 x 7 1/8 x 5 1/8 in.
On loan from a Private Collection,
USA
Image Credit: Richard Goodbody

A Three-Part
Exhibition ofContemporary
Japanese
Ceramics
at theGardiner
Museum,TorontoJoan B. Mirviss and Meredith Chilton

T

he Gardiner Museum is focusing on
Gardiner Museum is to offer an intriguing andJapan in 2018. In the Museum’s lobby
exciting glimpse into this diverse clay culture.
over the course of the year, three linked
Each separate show has a different theme.
displays form an exhibition celebrating thirty
The ﬁrst, Japan Now: Form + Function,
outstanding contemporary Japanese artists.
features vessels created for use with ﬂoral
Japan Now gives an unparalleleddisplays or referring, sometimes rather
opportunity for Canadians to see the latest
loosely, to that function (Fig.1). As Japanesework being produced today by Japaneseceramics have evolved through the centuries,
artists, at a time when Japanese clay isform has always played the central role inexperiencing one of the richest and mosttheir aesthetics. Potters have developed new
diverse periods of its history.
shapes and techniques based on indigenous
Since the mid-twentieth century, Japan has
regional styles or ancient prototypes, orplayed a starring role in the development ofinspired by Korean, Chinese, or Westerncontemporary ceramic art.
Japan’s post-war global
engagement gave its artists
unprecedented access toWestern trends. Theseinﬂuences, combined withthe technical mastery andcenturies-old tradition ofJapanese ceramics, resulted
in an enormously expanded
vision for clay’s potential.
The outcome has been aspectacular array of styles
and artistic vision. Masters of
their medium, leading
Japanese ceramicists
continue to confront tradition
while exposing the very
nature of clay in arresting
ways that challenge its
limitations, or defy themFig. 1 (left to right)
Itō Hidehito (b.1971)
Kitamura Junko
altogether. These artists are in
Vase, 2015(b.1956)
constant dialogue with theMori Tōgaku (b.1937)
Marbleized porcelain
Vessel 91-A, 1991
past, never deaf to historical
Vessel, 1990
18 3/8 x 6 ½ in.
Stoneware with black
Unglazed stoneware
On loan from Joan B.
slip and white slip inlay
precedent, but ever mindful
11 x 6 x 5 ½ in.
Mirviss LTD
8 5/8 x 17 ½ x 17 ½ in.
of the dichotomy between
On
loan
from
a
PrivateImage
Credit:RichardOn loan from a Private
tradition and modernity.
Collection, Canada
Goodbody
Collection, USA
The intent of this threeImage Credit: Richard
Image Credit: Richard
part exhibition at the
Goodbody
Goodbodyc l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 7

sources. Nakamura Takuo is perhaps the mostradical of the artists featured in this display(Cover image). He deconstructs his “vessel” as
two standing pleated elements which, whencombined, can surround or be integrated inmany permutations. The ﬁnal “form” reﬂects
interplay between the artist and the owner.
The second show, Japan Now: Surface,presents a selection of works that exempliﬁes
the remarkable range of surface treatments
used by Japanese ceramicists today.
Japanese ceramics are intended to be seen
close up, revealing the physical attributes thatlie at the heart of their aesthetics. Surface
effects, whether occurring naturally throughwood ﬁring, textured by carving or
impression, or decorated by the applicationof glazes or other techniques, are typicallyregarded as deﬁning these works. Monolith,
a new creation by renowned ceramicist
Kondō Takahiro illustrates this concept(Fig. 2). The carved, marbleized, porcelain andglass sculpture features his signature
overglaze “silver mist” (gintekisai),
incorporating silver, gold, and platinum
droplets to represent “water born out of ﬁre.”(http://www.kondo-kyoto.com)
Finally, the third display, Japan Now:
Female Masters, explores the work done bypioneering female artists, who have been at
the vanguard of Japanese ceramics for the
past twenty years. For centuries women were
excluded from the all-male apprenticeshipsystem; from making ceramic vessels; or evenparticipating in their ﬁring. In the post-war era,
women broke free from gender-speciﬁc

obstacles to attend university andprofessional ceramic schools. Today, female
masters are the equals of their malecontemporaries both as luminaries and as
independent creative talents. With their own
sensibilities and without ties to speciﬁcregional or familial ceramic traditions, these
women have raised their nation’s ceramic arts
to an entirely new level. The work of
Fujikasa Satoko exempliﬁes this creative
dynamism (Fig. 3). Her ﬂuid sculptures are
handbuilt, using the tehineri technique, where
slender coils of clay are blended together,requiring months of work. The extraordinary
thinness of the clay and the pinching andpulling technique she employs make the ﬁnal
work a race against time and drying.
Japan Now: Form + Function from January 12
to April 22, 2018; Japan Now: Surface from
June 7 to September 3, 2018; and Japan
Now: Female Masters from September 7,
2018 until January 13, 2019. GardinerMuseum, 111 Queen’s Park, Toronto, ON
https://www.gardinermuseum.on.ca. Please
see the museum website for dates, hours, andrelated programs.
The exhibition is accompanied by acatalogue, available in the museum shop:
Joan B. Mirviss. Japan Now: three displays at
the Gardiner Museum celebrating
contemporary Japanese ceramics. Toronto:
Gardiner Museum, 2018. Print. Moreinformation about the artists in Japan Now
and their work is also available from
Joan B. Mirviss LTD http://www.mirviss.com
Joan B. Mirviss, exhibition curator; gallerist of
Joan B. Mirviss LTD, New York.
http://www.mirviss.com. Meredith Chilton,
independent art historian; former chief
curator, Gardiner Museum, Toronto.
FUSION also acknowledges the assistance ofKarine Tsoumis, Curator, Gardiner Museum.

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Fig. 3
Fujikasa Satoko (b. 1980)
Seraphim, 2016
Stoneware with white slip glaze
26 3/8 x 25 1/8 x 17 3/4 in.
Potter’s Mark: 2016FS (incised on base)Diana Reitberger Collection
Image Credit: Yano Masaya

c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 9

“Ceramics has the power to arrest you the way sublime
music can make you stop what you’re doing and listen.”

A Dance With Clay:
Harlan House

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Heidi McKenzieWithin ceramic circles, both here in
Canada and abroad,
Harlan House embodies what wemean by “living legend.” Full of life, Harlan
has been living fully as a ceramicist for nearly
half a century, if you consider that he hit the
ground running upon graduating from theAlberta College of Art in 1969. Although his
admission to art school was, by Harlan’s own
telling, ‘accidental’, his contribution to theﬁeld through his ongoing commitment togrowing, deciphering, learning, making, andthe subsequent sharing of his practice isanything but unintended.
Harlan House was the featured presenterat FUSION’s Winter Workshop held
March 23-24, 2018, onsite at Sheridan
College’s Ceramics Studio. Harlan started theworkshop by impressing upon the capacity
audience that he is not a teacher, he’s amaker. Harlan did choose the path of maker
and, as such, he chose the difﬁcult path ofmaking a living for himself and his family as aprofessional ceramicist “out on a limb,”
without the support of a teaching salary. His
oeuvre and what he has achieved as aprofessional artist speak volumes.
But I would also add that I have known
Harlan since he came to Sheridan as a guest
artist in 2011 to ignite passion within thestudents. Harlan has always been there toshow the way; point, guide, suggest, toanyone who asked.
Harlan started as a painter, a way of seeingthat he has carried over to his ceramics
practice, his uncanny ability to see clay as
canvas. He noted that he didn’t invent his own
techniques, the Chinese did; but that what hemakes, the Chinese don’t. Throughout theworkshop he not only demonstrated histhrowing, slab-built plates, luscious slipping,frog- and ﬁsh-sprigging; but for the very ﬁrst

Harlan House, M Extreme Happiness Ship, 2011, andright, Harlan House, Condo Lamp, 2015.
Image Credit: David Kaye Gallery

time, he demo’d his unparalleled techniqueof fashioning the fragility of an iris, both in 2D
on the clay canvas and 3D modeled in clay.
When he ﬁnished making the iris on theslip cast lamp, he walked it around to show us
up close. A paparazzi“From the point ofphone camera meleeensued. After the break,view of a potter orHarlan reﬂected on his
a sculptor, we haveexperience of our“learning.” He told us
to make art and failthat we need to learn
in order to push thefrom our eyes and let itsink into our souls; thatwhole concept into an
the immediacy of theexperience that starts
camera is a way of
to make sense.”
forgetting something,
not committing it tomemory.
Within the ﬁrst forty-ﬁve minutes of theworkshop I learned two things that I directly
applied to my own practice: casting slip works
best at warmer than room temperature; andtilting your single-pour molds at an angle
when draining avoids the annoying “bump” atthe bottom of the pot. I’m certain I was notalone in learning, by visual osmosis, thediscipline of Harlan’s focus: not able or willingc l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 1 1

“This [ceramics] is an

to entertain questions thrown at him while
executing a technique; but always willing tostop at the end and ﬁeld any unanswered
concerns, always adding an anecdote from thewellspring of stories he has accumulated over
his career, both personal and professional;
standing up, using his hands, often dancing
with a wiggle in his hips for emphasis.
There was the day he felt moved to make ashoe vase. Growing up, his mother had been
severe with rules, “no shoes on the table.”And so making a shoe
“As you’re making vase to put on the tablesomething, it’s lovely was a bemused,rebellious, act. It was
to have a dance with Maureen, his life partner
and wife, who took theit – to feel likeand put it on
you’re part of the sculpture
the dinner table with awhole process.”
ﬂower in it. Thenhappenstance kicked in:he had to make a sleeve around the shoe tocast it. He realized when he removed thesleeve, that he’d made socks. Now he makes
shoes with socks and they are tall vases. He’s
quick to note that the crazier the socks thebetter – adding an iris to golf socks was a hit
with his collectors.
Several of the participants mentioned tome that one of the most astounding things
Harlan teaches is about love and life. His
integral weaving together of his personal andprofessional life with Maureen was a constantin the room. Harlan shared the moment when
he realized he was just cranking iris vases out
because there was demand for the work, theysold, and he could make money. He got up

from his bench, wiped
art form. We are
his hands, took off his
apron, and walked
actually making art!”
over to the house andannounced toMaureen that he was quitting because he had
become a “pottery slut.” Maureen, his righthand in business, was not happy – but tenderand patiently encouraging. According toHarlan, “there’s no replacement for learning
as you work; if not, why bother.”
And so Harlan, though he has ofﬁciallyretired, continues to dance: with clay, with hisgarden, with Maureen, and in his life. Thankyou, Harlan.
FUSION: The Ontario Clay and Glass
Association is grateful to Harlan House for his
gracious presence as guest artist at the
FUSION 2018 Winter Workshop at Sheridan
College. Harlan’s work can be foundat www.harlanhouse.com, as can his soon-tobe-published book, Harlan House: Studio
Potter, which is both autobiography andopen-source compendium of slip, clay, andglaze recipes and photography.
Heidi McKenzie is a Toronto-based ceramicartist who maintains a sculptural andfunctional practice in her Parkdale basement
studio. For more info www.heidimckenzie.ca
or on Instagram @heidi_art.
All Image Credits: Heidi McKenzie, except
where otherwise noted.

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“A potter should wash
his own dishes.”c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 1 3

Hidden Complexities:
Ceramic Vessels from the Department of Mines

Fig. 1 – Bowl from Musquodoboit Valley, Nova Scotia. ROM Accession: 923.42.16.
Image Credit: Courtesy of the Royal Ontario Museum @ROM.

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Heather ReadThere is an unassuming collection ofceramics donated to the Royal Ontario
Museum (ROM) in the 1920s by the“Department of Mines.” It consists of twentyone vase, bowl and cup forms, and one tile, allmade of clay bodies gathered from different
sites across Canada. The clay’s location oforigin is inscribed on pieces, or noted inrecords. There is no information about the
maker, other than a maker’s mark on thebottom of some forms. Many vessels are
similar in their overall visual appearance, but
their weights reveal a complexity in theirrespective clay bodies: for example,
the Don Valley clay vessels are heavy, and thePort Dover one is light and porcelain-like.
They are human-scale: not too big, not too
small, objects almost anyone who had basic
instruction in wheel work and glaze could
make. With their simple decoration, where theglaze does not intend to overshadow the
exploration of the clay, they are akin to test
tiles.
These vessels were likely made whenpossibilities for a ceramics industry in Canada
were being investigated. The Department ofMines, the donor, was a government body
created in 1907, and an early precursor of thecontemporary federal Department of Natural
Resources, the Ontario Ministry of Mines, andother parallel provincial ministries. Today,these agencies facilitate extraction of raw
resources used in the creation andmaintenance of our built environments andmaterial world. These agencies werepredated by the Geological Survey of Canada.
Started in 1842, carrying the distinction of
being Canada’s ﬁrst scientiﬁc agency, thesurvey was (and continues to be) a massive
undertaking, sending people throughout thecountry documenting the location and natureof rock and mineral deposits. If the fur trade
began the application of a Western European
economic perspective to the continent ofNorth America, the Geological Survey

furthered that line of thinking. Its central
premise viewed geological resources asprecursors to an industrial economy (Alcock
1942; Hall 1967; Vodden 1992). While ﬁnding
clay was not considered as crucial as ﬁndingcoal, a clay industry was regarded as the
backbone of a “well-developed” country by
early survey workers (Zaslow 1975: 292). Clay
was sought for use in building brick houses
and producing domestic housewares.
By the 1920s, when this set of ceramics
was donated to the ROM, domestic ceramics
had been produced throughout Canada for
about 70 years (Webster 1971: 18). Brickfactories, such as the Don Valley Brickworks in
Ontario, begun in the previous century, were
thriving. Studio potteries began appearing
throughout the country, too, often near brickfactories, as aspiring potters drew on thewealth of clay knowledge held by factory
workers. Gail Crawford notes in Studio
Ceramics in Canada that lab technicians in the
Department of Mines in Ottawa often assisted
potters by testing clay samples (Crawford
2005: 14).
The practice of clay work by Indigenous
peoples in what is now Canada, of course,
long predates the Geological Survey and theindustrial economy. The Canadian Museumof History’s online exhibit Gather Around thisPot gives a concise overall introduction toceramics created by Indigenous peoples
in Canada prior to European contact.
While traditional Indigenous practices
waned as imported goods arrived on thecontinent and European settlers began
imposing practises of cultural
assimilation on Indigenous peoples,
Indigenous engagement with clay was
not completely lost. In contemporary
times, there are Indigenous artists
working to redevelop clay practices andreclaim heritage: Steve Smith and his
family members, for example, focus onstudio ceramics, reviving a lostc l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 1 5

Fig. 2 – Vase from Don Valley,
Toronto, Ontario. ROM Accession:
923.42.9. Image Credit: Courtesy of
the Royal Ontario Museum @ROM.

Fig. 3 – Vase from Don Valley,
Toronto, Ontario. ROM Accession:
923.43.10. Image Credit: Courtesyof the Royal Ontario Museum@ROM.

Kahniakehaka (Mohawk) traditional
practice (see:https://www.facebook.com/talkingearthpottery/).
Today, while these small vessels in the
ROM collection are relics of a damaging
period in Canadian history, they also connect
to contemporary ways of thinking about clay.
As former factories like the Don Valley
Brickworks and the Medicine Hat Historic ClayWorks district in Alberta are reconceived asenvironmental and cultural community
centres, contemporary ceramic artists (andother craftspeople) are attempting to makechanges in their work and practice to become
more sustainable. Whether this is attempted
through ethical sourcing and supply chains,addressing material toxicity and lifecycle, or
emphasizing the importance of local material
use, sustainability is well established incontemporary times as a key component ofcraft practice. Sustainability is a recurring
theme in the 2010 review of the craft sector
prepared for the Ontario Arts Council, forexample. Conversations around sustainability
are ongoing, both locally (see the 2015
“Crafting Sustainability” conference coorganized by Craft Ontario and OCAD
University) and internationally (such as theongoing Green Crafts Initiative of Craft

Fig. 4 – Vase from Port Dover,Ontario. ROM Accession: 923.43.20.
Image Credit: Courtesy of the Royal
Ontario Museum @ROM.

Scotland and Creative Carbon Scotland).
Consumers, too, are being encouraged tochoose sustainability. This is difﬁcult territory,
where imagined and real realities do notalways converge; as Glenn Adamson notes,
the roadside studio pottery appears “one withnature but is actually recklessly inefﬁcient interms of fuel and materials” (Adamson 2012).
That being said, a ﬁrst step towards improved
sustainability may lie simply in knowing more.
As with the contemporary push to learn more
about the origin of food, knowing more about
the raw materials that comprise objects we
use may lead us towards a more connected,
sustainable, lifestyle (Hanus 2014).
With their clearly deﬁned origins, then,when these unassuming ceramics were made,in a way they were radically ahead of theirtime.
REFERENCES
Alcock, F.J. A Century in the History of theGeological Survey of Canada. Ottawa, ON:
National Museum of Canada, Special
Contribution No. 47-1, 1942.
Adamson, Glenn. “What Responsibility Might
Look Like.” American Craft. March 20, 2012.
Crawford, Gail. Studio Ceramics in Canada.

1 6 | F U S I O N M AG A Z I N E | Vo l u m e 4 2 N u m b e r 1 | c l a y a n d g l a s s . o n . c a

Fredericton, NB: Goose Land Editions, 2005.
Hanus, Julie K. “Food for Thought.” American
Craft. January 20, 2014.
Hall, E. Early Canada: A collection of historicalphotographs by ofﬁcers of the Geological Surveyof Canada. Ottawa, ON: Canada Department ofEnergy, Mines and Resources, 1967.
Vodden, Christy. No Stone Unturned: The First
150 Years of the Geological Survey of Canada.
Ottawa, ON: Minister of Supply and Services,
1992.
Webster, Donald. Early Canadian Pottery.
Toronto, ON: McClelland and Stewart Limited,1971.
Zaslow, Morris. Reading the Rocks: The Storyof the Geological Survey of Canada 18421972. Ottawa, ON: MacMillan Company ofCanada, 1975.
Heather Read is the Rebanks Postdoctoral
Fellow in Canadian Decorative Arts at theRoyal Ontario Museum (ROM). She can bereached at hread@rom.on.ca.

FUSIONA MAGAZINE FOR CLAY AND GLASSFUSION MAGAZINE

Volume 42, No. 2 Issue: September 2018
Editorial and Advertising submissions
Deadline: June 12, 2018
To place an advertisement in FUSION,
please contact the FUSION Ofﬁce at
416-438-8946 or
fusion@clayandglass.on.ca
If you would like to write for FUSION
or have an idea for an article,
please contact Margot Lettner, Editor, atfusion.editor@clayandglass.ca

Summer Arts Program
Our summer program is a nationally acclaimed art experience.
We offer over 300 courses in a wide range of disciplines inweek-long formats and weekend workshops including:Glassblowing, Glass Fusing, Slumping & Surface Decoration,
Glass Flamework, Pottery – Form & Function, Throwing Camp– Intermediate/Advanced, Naked Raku, Understanding
Glazes, Garden Art in Clay, and Pottery – Surface Effects.
Register now to get the course you want.
Full-time Studies
Our accelerated 15-week Ceramics and Glassblowing
certificates can be taken indiviudally, or in conjunction
with Visual and Creative Arts, or Integrated Design
diploma programs.

For details:

hsad.cac l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 1 7

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1 8 | F U S I O N M AG A Z I N E | Vo l u m e 4 2 N u m b e r 1 | c l a y a n d g l a s s . o n . c aRon Roy

Pinholes in Glazes:
Optimal Clay and Kiln Conditions
Pinholes are small holes in a ﬁred glaze. They are caused by bubbles
that have burst in a glaze during the later part of a glaze ﬁring. The
crater left from the burst bubble does not heal over because theglaze is not ﬂuid enough.
Pinholes on a vertical surface tend to heal over better because
gravity helps glaze ﬂow. Pinholes on a horizontal surface, however,
do not heal over as well because glaze does not move downwards.
These holes are not usually the same as those found in a dry glaze
after application. Rubbing over, a common treatment for holes ina dry glaze, usually does not eliminate pinholes in a ﬁred glaze.
Probably the best textbook on the subject of glaze problems
and how to ﬁx them isThe Potter’s Dictionary of Materials andTechniques by Frank and Janet Hamer (6th ed., Philadelphia:
University of Pennsylvania Press, 2015). It’s the ﬁrst book I use when
I’m working on a glaze problem and need more information. In thisarticle, the ﬁrst of three about pinholing, I’ll address optimal clay andkiln conditions learned from my own practice.
During a bisque ﬁring there must be enough oxygen present
and the ﬁring slow enough to burn out any organics in the clay;
otherwise, excessive gas will be produced in the ﬁnal part of theglaze ﬁring and may result in glaze bubbles.
Kiln vents solve many problems for potters. They take away toxic
fumes; they promote combustion of organics; and they extend thelife of elements, furniture, bricks, and metal parts. A properly
functioning kiln vent will most likely provide enough oxygen unlessthe ware is thick, stacked too tight, and/or ﬁred too fast. Kilns
without a vent system should have at least one spy open to ensure
there is enough replacement oxygen to facilitate combustion oforganics. Firing too fast from 700C (1292F) to the end of a bisqueﬁring may result in unburned carbon in the clay and pinholes withsome glazes.
Finally, all clay has some organic content that, when combusted,
is a health hazard: avoid breathing kiln fumes of any kind.

DISCOVERY ART TRAVEL
Upcoming Ceramic Excursions

SICILY

April 29 – May 17, 2019

MOROCCO

October 7 - 28, 2019www.denysjames.com

Next: Kiln Fixes, or “Hotter is Better”
Ron Roy is co-author (with John Hesselberth) of Mastering Cone 6
Glazes: Improving Durability, Fit & Aesthetics at
http://www.masteringglazes.com and is available to answer glazequestions at ronroy@ca.inter.net Image Credit: Ron Royc l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 1 9

Linda Sormin: Fierce Passengers

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Kim LulashnykAn open, soaring space in the Carleton
University Art Gallery (CUAG) in Ottawa
ON was recently reshaped — collected,
twisted, hoisted, and sculpted — by
Linda Sormin’s site-responsive installation
Fierce Passengers. Part dry dock, part
shipwreck, part architectural digest, Fierce
Passengers asks questions about the things
we hold onto; the things we discard; and what
is lost. “I am curious,” she says, “about thefractured, unpredictable, wet spaces ofceramics. In my studio and teaching practice, I
investigate fragility and precariousness,vulnerability andaggression.”
Site-responsive art is
art in conversation with a
speciﬁc space; a museum
or gallery, a park or city
street. Sormin describes
her ﬁrst response to the
CUAG space: “When I
ﬁrst walked into thegallery in June, I wasreally struck by the heightof the space, the kind of
soaring ceilings and theoverlook made me wantto engage the space in a way that conjured
the idea of a dry dock.” Three wooden ship’s
ribs rise to the ceiling, forming the outlines ofan imagined vessel at dry dock, becoming the
installation’s visual container.
Sormin sees herself as a sculpture andinstallation artist who uses ceramics as her
sculptural medium; and clay, that “unruly,
unkempt” material medium, as a metaphor forthe themes that inform her work — transition,
migration, temporality, and loss. Visitors enter
Fierce Passengers by a wooden walkway,
much like a boardwalk at a quay where
people land or leave, goods are loaded or
unloaded. But this walk is also a wooden

plank that charts the primary path through theshow, pressing very close to the ceramic
sculptures, found objects, and collaborativepieces Sormin has placed on, around, andunder oblique wooden scaffolding.
There are other ways in, though.
Otherworldly shapes, resembling corals andbarnacles. Massive architectural extrusions
that recall building materials, perhaps sea
monsters. Vivid colour rebounds off thegallery’s white walls — bubble-gum pink,kindergarten blue, mustard, crayon red, andclown-wig orange — yet these saturations,while they animate,introduce colour
narratives that read more
Stephen King than Little
Mermaid. The space iskinetic: claustrophobic,
precarious, full of visual
information andstimulation, and then asingle sculpture
suspended from theceiling creates a pause; avisual “archipelago.” Itfeels conceptually turned
on: walking through, theviewer turns into part of the installation.
To create the ceramic sculptures andfragments of Fierce Passengers, Sormin
worked ﬁrst from preliminary drawings andmaquettes, then shipped and assembled thecollection during a two-week residency at thegallery. Signifying its local construction, she
invited the public to contribute objects that
represented periods of transition or upheaval
in their lives. A hospital gown, an expiredsauce jar, a mug, a plaster Canada goose,each became a symbol of a larger discourse
on cultural transitions and, at the same time,
talismans for personal stories of loss orrecovery.

c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 2 1

Another unique and local aspect of thematerial composition of Fierce Passengers isthe clay itself: a meter-square block of raw
Leda clay that became the installation’s
sensitive, unreliable — and ultimately literalfoundation. A glacio-marine substanceunderlying most of the Ottawa-Gatineau
region, Leda clay was left behind by theChamplain Sea 10,000 – 13,000 years ago.
Known as quick clay, it is highly unstable andcan turn to liquid when placed under stress,
making the region earthquake- and sinkholeprone.
So Sormin experimented with states ofstress, both real and ﬁgurative; and createdsubliminal architectural features that ﬂoatedon the volatile raw clay. She added areas that
suffered landslides, allowing her sculptures tobe swept away in a clatter of debris. She
brought clay samples to the science
department at Alfred University, where sheteaches, and, using powerful electron
microscopes, collected images of the clay’s
cellular structure that became projections on
Fierce Passengers ship’s hull.
And just as the installation changed thegallery space, the installation itself changed
during the residency. Ceramic sculptures weretaken apart and reassembled. Or smashed, left
in ruin. Joins and ties were covered laboriouslywith hand-pinched paper clay resemblingcoral or other imagined aquatic glue. “For me,
as for many artists,” Sormin explains, “acts ofmaking are site-speciﬁc, hands-on anddurational. To make space for new discovery in
any particular place or situation, how might I
loosen my grip on language andmethodology?” Installation becomes a fullyengaged encounter for the artist.
Fierce Passengers is an unconventionalshow, a collaboration between an artist’s
vision that is ambitious, sophisticated, andmonumental in scale and a curatorial strategy
open to experiment and dialogue. As curator
Heather Anderson notes, “Sormin’s immersive
installation echoes the provisional structures
humans build and use — rafts, ships, shelters,
supports and platforms: a raised path to walkon, a ship’s hold to carry people andbelongings. I wonder what people mightbring in response to Sormin’s invitation toshare objects that ‘carry us like ﬁerce
passengers’ through experiences of change,transition, migration or loss.”

2 2 | F U S I O N M AG A Z I N E | Vo l u m e 4 2 N u m b e r 1 | c l a y a n d g l a s s . o n . c aSormin’s investigative mind and hybrid
technique, her improvisational strategies anddeep speculations, her engagement withlocal materials and experiences, articulate thebreadth of her vision and her commitment to
the physical and conceptual potentials of clay.
Whatever you choose to bring with you orleave behind, you will be walking on unsteadyground.
Linda Sormin is a Professor of Ceramic Art at
the New York State College of Ceramics,
Alfred University http://www.lindasormin.com.
Fierce Passengers, curated by Heather
Anderson, was shown at the Carlton University
Art Gallery, January 15 – April 29, 2018
http://www.cuag.ca and was supported by theGreenberg Fund (Reesa Greenberg).
All quotations from Linda Sormin are from her
website or from the video produced by
CUAG; quotations from Heather Anderson aretaken from her curator’s statement and fromaccompanying exhibition materials. Listen
here to an interview with Linda Sormin.
FUSION also acknowledges the assistance of
Heather Anderson, Curator and Adjunct
Professor, Art History, Carlton University Art
Gallery (CUAG).
Kim Lulashnyk holds MA’s in English Literature
and Canadian Studies and enjoys writing
about clay almost as much as she enjoys
working with it in her studio. Kim’s work can
be found on Facebook, Instagram@kimlulashnykk, or on her website atwww.kimlulashnyk.com. She is a frequent
contributor to FUSION.
All Image Credits: Carlton University Art
Gallery (CUAG), Justin Wonnacott

FUSION 2018 FALL WORKSHOPTERESA DUNLOP
September 14 – 16
North Bay, ON

Details forthcoming at www.clayandglass.on.ca

c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 2 3

FUSION MAGAZINE SPOTLIGHTFEATURED EMERGING ARTIST, GLASSMARY LOUISE WHITE
WebsiteFacebook
Instagram

What began as a fascination with the beauty ofglass has become a commitment to learning
about its speciﬁc qualities and methods ofworking. The more I engage with glass,investigating its properties and certainly its
challenges, the more I am drawn to its
possibilities as the medium for my voice.
Two themes dominate my current practice:
our relationships to one another, and ourrelationship to the planet. I am currently
exploring speciﬁc subjects under a broadumbrella: the representation of loss of habitat
through resource exploitation; and thedevelopment of forms to address the issue of
murdered and missing Indigenous women andgirls, currently under investigation in Canada bya troubled National Inquiry. My practiceinvestigates emotional qualities based on values
such as tolerance, respect, compassion, andgenerosity; and acceptance, understanding, andgenerosity in the presence of loss and change.
Observation of life around me and internalconversations inform my art, as do the practicesof yoga and meditation.
Since 2014 I have dedicated myself todeveloping a practice in kiln-formed glass,studying at the Studio of the Corning Museum of
Glass, North Lands Creative (Scotland) and otherfar-ﬂung studios and eventually, in 2017, at theAustralian National University, as well as in kiln
casting with Richard Whiteley.
I am currently working in diverse forms
including abstract, biomorphic, ﬁgurative, andthe use of voids, as I investigate and develop myown visual language and aesthetic voice. The
behavioural qualities of glass allow me to bringlight and awareness to ideas, attitudes, and issues
that matter to me.
Glass is a graceful and powerful metaphor forthe contradictions that lie at the centre of humanexperience: its transparency and opacity; its
ability to reﬂect, refract, amplify, distort, and focus
light; these render it an exquisite and evocative
medium for artistic expression.

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FUSION MAGAZINESPOTLIGHT
FEATURED EMERGING ARTIST,CERAMICSNAOMI CLEMENT
EmailWebsiteIn my current body of work, I use text
elements taken from old familycorrespondence and ephemera to explore
my family history and connect past andpresent. Letters are digitally scanned,
enlarged, and then laser-cut into
newsprint. These newsprint text elements
are then used in my decorative process,acting both as a stamp and resist for colour
and texture.
Handwriting is such a personal way ofconnecting, leaving your mark, and tellingyour story — through this intimate process
we connect our thoughts to the physicalworld. Using the labour of my hands,
I unite these traces of my past withfunctional objects that celebrate thetangible joy of the everyday.
The resulting pots ask to be noticed
and examined. I want them to convey asense of a life lived, and a life still to be
lived; they are about making connections
and wanting to make connections.
A snapshot of the journey, each pot is atether that connects me to me, and me toyou: a memory bound in mud-made-stone
for years to come.

c l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 2 5

CARVED IN STONE
Some galleries and venues had notposted listings of upcoming
exhibitions for June – September
2018 at the time of publication.
Please consult the websites ofindividual galleries or artists tocomplete your calendar ofsummer/fall exhibitions.

EVENTS
June 1 - 29
Breakthrough: An Exhibition of
FUSION’s Emerging Artists
Robert Langen Gallery
Wilfrid Laurier University
75 University Avenue West
Waterloo ON
http://www.clayandglass.on.ca
FUSION: The Ontario Clay andGlass Association invites clay andglass arts who are in school orwithin their ﬁrst ﬁve years of practice
to show in its inaugural emerging
artists exhibition.
June 24 – 25
FUSION Conference 2018
Wilfrid Laurier University
Waterloo ON
http://www.clayandglass.on.ca
FUSION: The Ontario Clay andGlass Association partners its 2018
Conference with two very special
anniversaries: the 25th anniversary of
The Canadian Clay and Glass
Gallery, and the 50th anniversary of
The Waterloo Potters’ Workshop.
Featured presenters are Peter
Powning and Samantha Dickie.
________________________________
May 10 – June 23
Donald A. Stuart,
Designer/Craftsman: 50 Years ofCreative Excellence
CO Space, Craft Ontario
1106 Queen Street West
Toronto ON
http://www.craftontario.com
A retrospective of Donald A. Stuart’s
50 years as a designer andcraftsman, featuring a selection ofwork that explores his contribution

to craft practice in Canada in textiles
and woodworking, as well as his
work as a master goldsmith andsilversmith.
________________________________Art Gallery of Ontario
317 Dundas Street West
Toronto ON
http://www.ago.net

museum, and each other, working
with ceramic fragments, string,
paper, and other media to create
and contemplate.

June 16 – August 12
Tunirrusiangit: Kenojuak Ashevak
And Tim Pitsiulak

forthcoming summer/various dates
winter 2018 – winter 2019Japan Now

Two extraordinary artists – Kenojuak
Ashevak and her nephew Timootee(Tim) Pitsiulak – representing two
generations of Inuit artists. The
exhibition will be the ﬁrst time Inuitart is showcased in the AGO’s largest
exhibition space, the Sam & Ayala
Zacks Pavilion, and will be Pitsiulak’sﬁrst major gallery retrospective.

Beginning with Form + Function in
winter 2018, Joan B. Mirviss, anauthority on Japanese ceramics and
New York City gallery owner for 40
years, curates three lobby displays
featuring the work of groundbreaking, contemporary Japaneseceramists.
________________________________March 10, 2018 - July 2, 2018
The World of the Fatimids
Aga Khan Museum
77 Wynford Drive
Toronto ON
http://www.agakhanmuseum.org

September 28, 2018 – January 6,
2019
Anthropocene
The AGO and the Canadian
Photography Institute (CPI) of
the National Gallery of Canada(NGC) co-present Anthropocene,a major new contemporary art
exhibition about human impact on
the Earth through ﬁlm, photography,
and new experiential technologies.
Co-produced with MAST Foundation,
Bologna, Italy, the exhibition is acomponent of the multi-disciplinary
Anthropocene Project from thecollective of photographer Edward
Burtynsky and ﬁlmmakers Jennifer
Baichwal and Nicholas de Pencier.
________________________________
Gardiner Museum
111 Queen’s Park
Toronto ON
http://www.gardinermuseum.on.ca
February 22 - June 3
Yoko Ono: The Riverbed
A three-part interactive installation(Stone Piece, Line Piece, Mend
Piece), the exhibition invites visitors
to collaborate with the artist, theOctober 1 – 31
20th Biennial Juried Exhibition
Toronto Potters' Association
www.torontopotters.com

The World of the Fatimids marks theﬁrst time selected masterpieces
from the Fatimid dynasty are shownin North America: marble reliefs,
from the Museum of Islamic Art in
Cairo; luxury objects ranging fromrock crystal and ivory to ceramiclusterware — a technique masteredduring Fatimid times — andmasterpieces of metalware.
________________________________David Kaye Gallery
1092 Queen Street West
Toronto ON
www.davidkayegallery.com
various dates May – September
2018
New paintings by Donald Andrus,
Katja Jacobs, Vera Dernovsek, andChristina Luck.
________________________________
January 13 – June 17, 2018
Jasna Sokolovic and NoelO’Connell of Dear Human

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CARVED IN STONEOr Something In Between
Craft and Design Exhibitions Winter2018
Harbourfront Centre
235 Queens Quay West
Toronto ON
http://www.harbourfrontcentre.com
Repurposing paper destined forrecycling depots, Sokolovic andO’Connell create their signature
pulp and transform it into an arrayof tactile objects such as lighting,baskets, tiles, and even furniture;malleable and sturdy, it has a historyof mimicking other materials likestone, concrete and ceramics.
________________________________
April 8 – September 2Then, Now and Next
The Canadian Clay and Glass
Gallery
25 Caroline Street North,
Waterloo ON
http://www.theclayandglass.ca
The Gallery’s 25th Anniversary
exhibition, Then, Now and Next is aninvitational show featuring six
acclaimed Canadianartists, Samantha Dickie, Susan
Edgerley, Irene Frolic, Zachari
Logan, Audie Murray, and Peter
Powning. Garth Clark, Marketing
Ceramics, June 22; and keynote
speaker at FUSION Conference
2018, June 23.
________________________________
National Gallery of Canada
380 Sussex Drive
Ottawa ON
www.gallery.ca
various dates May – September
2018
New exhibitions, including a
retrospective of Laurent Amiot,
Canadian Master Silversmith; Paul
Klee: The Berggruen Collection
from The Metropolitan Museum ofArt; and the winners of the
PhotoLab4: New Generation
Photography Award Exhibition.

________________________________
Royal Ontario Museum (ROM)100 Queens Park
Toronto ON
http://www.rom.on.ca
ongoing
Google Art ProjectOver 300 ROM artifacts have been
captured and exhibited online inextraordinary detail, allowing the
public to virtually tour ROM
galleries and curate their own
digital collections.
________________________________
April 28 – September 16Àdisòkàmagan Nous Connaître un
Peu Nous-Mêmes We’ll All Become
Stories:
A Survey of Art of the OttawaGatineau Region
Ottawa Art Gallery
50 Mackenzie King Bridge
Ottawa ON
http://www.oaggao.ca
Thirty years since its founding, andnow opening its new expanded
home, the OAG celebrates these
events by drawing together acollection of art that explores theregion’s art history andcontemporary production to date.
________________________________
May 18 - July 15
Fireworks 2017
FUSION Biennial Exhibition
Thames Art Gallery
75 William Street N
Chatham ON
www.chatham-kent.ca________________________________
April 6 – August 26
Les prophètes (The Prophets)
Musée d’Art Contemporain deMontréal
185, rue Sainte-Catherine Ouest
Montréal PQ
http://www.macm.org
Created by Richard Ibghy andMarilou Lemmens, a duo of Quebec
artists interested in economic
sciences’ representation of theworld, the work is a collection ofsmall and delicate sculptures

handmade using everyday materials
such as string, bamboo sticks, wire,and sheets of acetate, inspired byeconomic charts and graphs.
________________________________
Musée de beaux-arts de Montréal
1380 Sherbrooke Street West
Jean-Noël Desmarais Pavilion
Montréal PQ
http://www.mbam.qc.ca
opening March 24
Bon appetit! Contemporary
Foodware Designs in Quebec
Bon appétit! brings together theaccoutrements of welcoming
people to a table — the tools andequipment used for preparing,cooking, and keeping food —industrial and artisanal objects thatare always attractive, and thatcelebrate the culinary arts.
August 28, 2018 – August 4, 2019
Connexions: Notre diversité
artistique, dialogue avec notre
collections(Connections: Our Artistic Diversity,
Dialogue With Our Collections)
The MMFA has invited seven artists
representing Canada’s cultural
diversity to create a trans-historicaland contemporary dialogue inconnection with the MMFA’s
collection of Ancient African, Asian,Mediterranean, Oriental, and preColumbian art.
________________________________
ongoing
Highlights of Inuit Sculpture
Inuit Art at Journey to Churchill
Winnipeg Art Gallery
300 Memorial Boulevard
Winnipeg MAN
http://www.wag.ca________________________________
June 16 – September 16
David Milne: Modern Painting
Vancouver Art Gallery
750 Hornby Street
Vancouver BC
http://www.vanartgallery.bc.ca
David Milne: Modern Painting bringsc l a y a n d g l a s s . o n . c a | Vo l u m e 4 2 N u m b e r 1 | F U S I O N M AG A Z I N E | 2 7

CARVED IN STONE
together more than eighty works in
oil and watercolour, never-beforeexhibited photographs anddrawings, and memorabilia
collected by Milne during his time inEurope as an ofﬁcial war artist.
________________________________
May 10 – June 21
Mountain Object Makers
Cooperative: Mountain Objects:
collected, foraged and formed
Craft Council of BC
1386 Cartwright Street, GranvilleIslandVancouver BC
http://www.craftcouncilbc.ca
Finding commonality in the crafted
form and in creating work that
relates to the unique nature of livingin Whistler BC, this artist-run studioshow includes hand built, castporcelain, and thrown shapes, aswell as fused and kiln-cast glass.
________________________________
April 11 – July 7
The Time Of Things: The Continuumof Indigenous Customary Practices
into Contemporary Art
Legacy Art Galleries
University of Victoria
630 Yates Street
Victoria BC
http://www.uvac.uvic.ca
Challenging the binary of traditionaland contemporary art, theexhibition explores the continuumof Indigenous customary practices
into contemporary Indigenous art
through the work of ﬁve womenartists – Daphne Boyer, Maureen
Gruben, Susan Pavel, Skeena Reece,and Marika Echachis Swan.
________________________________
April 28, 2018 – April 12, 2020
The Art of African Ivory
Agnes Etherington Art Centre
Queen’s University
36 University Avenue
Kingston ON
www.agnes.queensu.ca
Sparking discussion of history anddebates about ecological andwildlife preservation, this exhibitionof African ivory showcases works
donated by Justin and Elisabeth
Lang; suggesting conversations
about how Africans have used ivory
to teach morality, convey social
standing, heal wounds, safeguard
communities and commercially
proﬁt.
________________________________
ongoingWine, Water and Oil: Domestic
Vessels From the Greek and RomanWorld
Togo Salmon Gallery
McMaster Museum of Art
McMaster University
1280 Main Street West
Hamilton ON
http://www.museum.mcmaster.ca
Drawing from the museum’s
permanent collection, the exhibition
presents a picture of daily domestic
life in the ancient world throughobjects familiar to Greek and Romanhouseholds, focusing on three liquids
that were instrumental to daily life in
antiquity: wine, water, and oil.
_______________________________
January 27, 2018 – January 20,
2019
Up close and in motion
Rodman Hall Art Centre
109 St. Paul Crescent
Brock University
St. Catherines ON
www.brocku.ca/rodman-hall
A year-long constantly changing
exhibition of 12 sequences, some ofwhich will feature artists integral to
the region, Up close and in motion isan effort to make Rodman Hall’s
holdings of nearly 1,000 works
visible, while highlighting thecollection’s purpose as a tool for
research, study, and interpretation.
September 11 - October 28
Sanguine
40th Annivesary Exhibition
Mississauga Potters' Guild
The Living Arts Centre

All website links are based on best
available information as of issue date

4141 Living Arts Drive
Mississauga ON
www.mississaugapotters.com
RESIDENCIES/WORKSHOPS
Haliburton School of the Arts,
Sir Sandford Fleming College
summer/fall 2018
Register as soon as possible; course
calendars and information at
www.ﬂemingcollege.ca
2018-2019 Medalta International
Artists in Residence, Workshops
Flex @ Medalta
Second deadline: applications due
Saturday, September 1, 2018
Summer workshops
Carole Epp, Trudy Golley,
Christopher Reid Flock, Carole Epp,
Cathy Terepocki, Tara Wilson; details
at www.medalta.org
residencies@medalta.org
2018-2019 Residencies, The Banff
Centre for Arts and Creativity
structured and independent
residencies, including Ceramics
Studio Practicum
Details at www.banffcentre.ca
2019 Harbourfront Artist-inResidence Program
Applications due Friday, March 8,
2019 @ 5pm Toronto local time.
www.harbourfrontcentre.com
craft@harbourfrontcentre.com
SAVE THE DATE
September 14-16, 2018
FUSION 2018 Fall Workshop
North Bay ON
Details forthcoming at
http://www.clayandglass.on.ca
October 12-14, 2018
FUSION 2018 Clay and Glass Show
Artschape Wychwood Barns
601 Christie Street
Toronto ON
Details forthcoming at
http://www.clayandglass.on.ca

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