to the beautiful lush green vegetable, they
are repulsed by the macabre use of a skull
image: a new satirical twist to sex and death
issues. Paul Mathieu's sculptures are multi-

Paul Mathieu Fluid Mechanics/
Communications Vases (after H. Matisse
1910-13, 1927 and P Picasso 1931-32)
2003-4, installation of five porcelain vases
and base, 81.0 x 190.0 x 76.0 cm.
Coll:The Artist

layered, elegant, tongue-in-cheek and so-
phisticated all at once. They are firmly
grounded in the pottery tradition even when
its role has changed by use of new materials
such as plastics in utilitarian objects. His
current works Fluid Mechanics/Communi-
cating Vases 2003-4 are influenced by sculp-
tures by Henri Matisse and Pablo Picasso.
Turned upside down, the sculptures become
vase-like. On their surface, Paul paints im-
ages, which reference Matisse and Picasso
while at the same time refer to nineteenth
century European decorative chinaware.
The works are images to be experienced
visually and objects to be used. “This rela-
tionship is confused further by the use of
images of pots on pots shaped like sculp-
ture presented upside-down’ (Exhibition
catalogue p. 30). The shapes, surfaces, im-
ages and function/non-function forms are
in constant dialogue; in essence they are self-
referential and metaphorical— thus the ti-
tle Fluid Mechanics! Communicating Vases.

Other artists have created equally strong

Sally Michener States of Being 1-5
2003, ceramic with metal base and rod,
173.0x 16.0x 12.0 cm. Coll: the artist

April 2004

works. Sally Michener based her series of
five sculptures on the human body. Each
vertical piece composed of human forms
placed in an illogical order represents
changes in time and place — a metaphor
for the human condition. Bill Rennie’s
Where I Was Brought Up and Imagery 2000

is two plexiglas encased sculptures. One rec-

Bill Rennie Where I was Brought Up
and Imagery 2000, (derail) clay glaze,
water-colour components. Coll: artist and

reates his childhood Surrey home at 6949
Harris Road and surrounding area where
he played; the other case holds a very de-
tailed dreamlike metropolis. One evokes a
simple rural childhood while the other sug-
gests a mythical opulent life. Keith Rice-
Jones’ sculptures are influenced by cultural
sources including works by surrealist René
Magritte and the forms in Paul Cezanne’s
work. His work is technically demanding,
ritualistic and enigmatic. Laurie Rolland
produces exquisite vessels referencing the
metaphor of boat as feminine symbol of
passage and salvation. Using complex

Laurie Rolland Circinate Series #4
2003, clay. Coll: the artist

shapes, highly textured surfaces and earthy
colours, she explores the idea of vessel as
container and protector, and ideas of death
and regeneration. Kinichi Shigeno’s sur-
faces — three-dimensional canvases on
which he paints intricate designs on poly-

Potters Guild of British Columbia Newsletter

chrome enamels — are superb. Linda
Sormin’s large sculpture is both a literal
and figurative process piece. Through the

Kinichi Shigeno Round Platter nd,
stoneware. 5.0 x 49.5 x 49.5 cm.
Coll: the artist

duration of the exhibition, she will grow
or ungrow the work. Using improvisation,
this “process reflects the continual, awk-
ward, vital process of deconstructing and
reconfiguring one’s personal framework for
living in the world” (Catalogue p.42). Pat
Taddy’s Salvage Yard Teapots evolved over
10 years to the current ‘F’ works. Indus-
trial, mechanical, brutish and even grace-
fully delicate are words to describe works
that are both sculptures and fully function-
ing teapots. Just when the viewer recog-
nizes the familiar shapes and purposes, the
whole dissolves into a provocative combi-
nation. Finally but not least Nancy Walk-
er’s Balancing Act series created from red
clay, terra sigillata and pigmented clay slips
are wonderful vignettes addressing the
hurryscurry of living in a contemporary

city.

All the artists selected create from their par-
ticular voice. It is not even necessary to
discuss ceramic historical roles or bounda-
ries between craft and art. These works are
strong and represent a creative commu-
nity of artists who happen to use clay as
their medium of expression. The exhibi-
tion is a testament to the strength and di-
versity of the West Coast art community.
The challenge is how will other cultural
agencies create comparable exhibitions that
expose the wealth of ceramists in the prov-
ince?

Letia Richardson

Photos: Rachelle Chinnery: Ken Mayer
Jeremy Hatch: photo courtesy the artist

All others: Martin Hunt