~ POTTERS an COLUMBIA a Leach/Hamada tradition, Continued from Page 4 The Leach/Hamada tradition emphasized well-made, functional pots, the use of local materials and the pursuit of pottery-making as a life style. It was introduced to the Vancouver region by the return to the west coast of four Bernard Leach apprentices, including Jan Steele, who settled in Nanoose Bay north of Nanaimo in 1969. His sturdy salt-glazed wares achieved a measure of success in Vancouver and Victoria, prior to his return to England in 1977. Leach’s influence was felt by nearly all potters in the region, as is evidenced by many pots in this exhibition. ‘The last significant influence was that of abstract expressionism, introduced here by Peter Voulkos, Rudy Autio and others, who presented workshops at the Archie Bray Foundation in Helena, Mont., and the Banff Centre. Emphasizing personal expression and experimentation, Voulkos exerted a radical influence on potters across North America. In this exhibition, the influence is most apparent in the work of Gordon Hutchens, Denys James, Tobias Tomlinson and Ed Drahanchuk, all of whom are represented by large slab or thrown vessels with expressive, sculptural additions or heavy incising and complex stained, slipped and fumed surfaces. With this variety and range, it is impossible to discuss each pot, but the organization of the exhibition enables viewers to make meaningful connections. Large cases holding particular forms such as jugs, bowls or teapots by different artists allow viewers to recognize personal style, preference and nuance within the restrictions of functional form. The tea pot case provides a veritable compendium of variations, including three tiny, enchanting examples by Sue Hara. Raku is given considerable attention. After taking workshops with Paul Soldner, the most accomplished modern practitioner, Walter Dexter began to produce raku, especially after moving to Metchosin in the late 1970s. Through his extensive teaching, he influenced many others in the region. The exhibition includes a large globular jar with expressive brushwork by Dexter, but also handsome examples by Robin Righton, Denys James, Wayne Ngan, Mary Fox and John Charnetski. Other cases are devoted to works by major figures Wayne Ngan, Lari Robson, Walter Dexter, Byron Johnstad and Robin Hopper. Each is represented by ten or more pots, allowing one to sense in depth the range and significance of these master potters. The extent of experimentation with clay bodies, construction techniques, surface treatments, firing technologies and forms on view is exhilarating, and potters will no doubt spend hours studying them. Robson's functional pots are pure poetry, miracles of form, balance, proportion and “fitness,” yet each appears effortless. Ngan’s pots are more “theatrical,” attracting attention with their eccentric—if historically based—form. Several are roughly paddled, deeply scored, fitted with wadded knobs and marked by fire, while others are serene globes draped in luscious glazes he developed from local materials. It is the surprising, often little-known pots that stand out and impress, even in this illustrious field. Two works by Renée Poisson are slab-built, burnished and saggar-fired. Poisson studied with Leonard Osborne, Marguerite Wildenhain and Marilyn Levine, synthesizing influences to produce her own vision of striking abstract sculpture. Bertha Martin is represented by only one work, but it is a marvel, a small plate with mishima decoration, grey clay inlaid with white slip under a feldspathic glaze. Exhibiting minimal contrast, the plate pulsates with the energy of concentric circles and radiating lines produced by the inlay technique. Under the Land IV, Under the Land series, by Rene Poisson, 1977, stoneware, burnished; saggar- fired with sawdust in a wood-fired kiln, 30 x 21 cm. Private collection. Teapot, by Wayne Ngan, 1974, stoneware, hakeme design, bamboo handle. 12.7 x 15 cm. Private collection. Casserole, by Lari Robson, c. 1980. Stoneware,temmoku glaze with raised line decoration, 13.5 x 24 cm. Private collection. Other viewers will have other favorites—there are no bad pots here—and their choices will reveal much about the ongoing influence this work exerts even thirty or forty years on. My only wish is that there had been a map locating the potteries, which would have been helpful for those not familiar with the region. Exhibitions such as this are so important because, sadly, a number of these pioneers have now passed, and others are getting on in years. Their passion, know-how and extraordinary skill deserve recognition if we are to understand who we are and how we got here. As well, the works are beautiful, and they remind us of why we love pots. Potters Guild of BC Newsletter - November 2042