Ancient Clay Workshop Throughout the evolution of Wesrern civilization we have too often assumed that “progress” means a move from the un- civilized to the civilized, from the primitive to the sophisticated, from the inferior to the superior, As a result, Western artists have often turned their backs on the wonderful aesthetics, processes and techniques of the past. Uneil quite recently tribal ceramic traditions were generally seen only as primitive oddities, a “living, ancient history", and were generally ignored in che study of ceramics. Forounately, during che 20ch century the appreciation and understanding of tribal art has increased dramatically, and we now recognize that tribal cradicions are “pomitive” only in the studio facilities and firing processes. The level of craft and aesthetics is as sophisticated as anything in historic or comtemporary art... The tower the technology level, the higher the potter's skill level, An understanding of ancient and tribal traditions increase our awareness and appreciation of diverse cultures world-wide and through history. More and more artists today are finding powerful aesthetic and spiricual inspiration in ancient and cribal art. Vince Pitelka, head of che Tennessee Appalachian Center for Crafts, will be giving an "Ancient Clay” workshop this summer, This is a five day workshop in which participants will “learn by doing” the tribal, pre-glaze, pre-kiln techniques of forming, decorating and firing their pots. The focus will be on simple vessels and sculpture using pinch and coil methods. There will be an emphasis on the broad diversicy of decorative effects used prior to glaze development. The surfaces will be finished with clay slips, burnishing and polishing. There will be several colours of terra sigilatta, an ultra-refined slip which gives either a satin gloss when unburnished, or a hard, glassy sheen when it is burnished. When firing, Vince uses a very low bisque and transfers the aril] warm wares onto a bonfire. The bisque reduces (but doesn's eliminate) the high losses associated with open firing. The bonfire uses the classic starved-reduction, blackware manure firing that is practiced by the Pueblo potters. Fire is smothered with crushed manure and sand which curn the wares black, with subtle shadings of tan and brown. A primary appeal of these methods is thar the processes involve almost no modern technology. This fearure is difficulr for many modem ceramicists to accept, given our fascination for tools and equipment. Once experienced, however, a tribal approach to ceramics is tremendously liberating, and even many “high-tech” people periedically return co the basics with handbuilt, bonfired work. The workshop will be hosted by Michael McDowell, at his home and srudie 10 miles north of Bellingham, WA on August 4-8 and August 11 - 15. The workshop dates have been chosen to coincide with the cooling period of the Tozan kiln, so anyone wanting to participate in both can do so. Anybody wishing to keep lodging and meals to a minimum is invited to camp out on Michael's lawn and join in for group meals. Michael's large organic garden will provide a good seart. Workshop size is limited to 16, cost is $200(US). This includes tools, slips and terra sig. Custom blended clay will be available for purchase-Those wishing to attend should send a non-refundable $50(US) deposit to Michael McDowell at PO Box 4125, Bellingham, WA 98227. Indicare whether you intend to camp on the lawn. For informacion in CANADA on Ancient Clay workshop or Tozan firing, please contact Veronica Shelford at (250) 246 - 1509 or email Veronica Shelford Page 9 New d Cadmi Regulations The Canadian Departmenc of Health has amended the Hazardous Products Act (hard to believe that our humble pots fall under chis, bur it is so) to reduce the amounts of allowable lead and cadmium in any clay objece chat might conceivably be used for food use. If you decorate che interior or rim of a cup, bowl, plate, ete. it must not leach lead or cadmium over the new legal limit (which is quice small). If you are using commercial underglazes or glazes chat are colourful -especially in the red, yellow and orange tange- your work may need ta be tested or adapted. If you are mixing pour own lowefire slips and glazes using commercial stains (Mason, etc-}, you should check che individual components of each stain. Raku platters or bowl forms that use commercial glazes may also need to be checked. Anything that could be used or mistaken for food use needs a stamped warning on the base, in block capitals of not less chan 3mm in height which reads: DANGER! CONTAINS LEAD AND/OR CADMIUM. DO NOT USE FOR FOOD. Oh yes, this muse also be in French. If you have any questions about how chis applies to your own work, please contact Sheila Welock, Canada Health and Safery at (604) 666 - 5004. Karen Ohpas Gallery of BC Ceramics - Upcoming Deadlines for Submissions June 23 - Submission of work for the July exhibit A Garden Tea Party, in the Gallery of BC Ceramics. All members of the Potters’ Guild are encouraged to bring work in for this non-juried show. Work will leave the gallery as it sells (high tourist time) so we will need to have backup stock. Please bring your business eards to display with your work, and please tag the pieces with recail prices (50% commission), your intitials and number of piece. Call Jane if you have any questions (604) -669-5645 or email bepguild@intouch.be.ca). July 31 - Deadline for Exhibit Proposals for 1998. Application forms and guidelines are available in the Gallery or we can mail one to you.