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POTTERS
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COLUMBIA
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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