e Presient's Rer-arks

Much has been written in this booklet about juries, and the problems
of jurics. Perhaps it is timely now to say something about the
potters’ reaction to juries.

There can be little doubt that when shows are held, someone has to
judge the standard to be maintained, and the jury is the most
effective and democratic system yet devised. So we must assume
that, no matter which pots are rejected, they are so rejected
purely in the interests of maintaining the standards decided upon by
the jury.

Of course, it is inevitable that one experiences a personal shock
when pots of which one is very fond are, apparently, rejected out
of hand, and it is very difficult to take an impersonal and dis-
passionate attitude at that time, especially, as sometimes happens,
when all one's entries are rejected.

But if we are sericus about our efforts there is only one attitude to
take, and that is - what can I learn from rejections? The jury is not
motivated by personal animosity, and has had very definite reasons
for rejection. All juries are seriously trying to do their job
conscientiously and are often very painstaking in their examination
of entries.

It is up to us, therefore, to view our rejected entries impartially,
and compare them with accepted work, to try to see where we have
fallen down. Ideally, it would be helpful if juries would issue a
statement, outlining reasons for rejections and acceptances, but
this also presents some problems.

For our own good, however, the more shows we can arrange with
strict juries, the better for our quality of work, and it is my hope
that arrangemeéuts for such shows can at least be started during
my term.

Bric ¥ arsden,

2.

VANCOUVER REPORT

* Wayne Ngan had his first one-man show h the Bau-Xi Gallsry
in April and May of this year, It included a great many pieces of
coramics, sculpture, paintings, and drawings. The quality of his
execllent ceramics is hard to describe verbally. Masterly crafterman-
ship is self-cvident and as with all great ceramics, there is muca
more than technical concern, His pots always show a strong form
concept. The right decoration or line is always there to emphasize
the form. Wis decoration is usually done in terms of glaze application.
Glazes are used thickly and richly in carth colours, whites, and
turquoise blues. As an autumn leaf is rich in colour so is the pottery
of Wayne Ngan, He is presently teaching coramics along with ising
Laffin at the Vancouver School of Art.

* Summer Workshop
Almost forty B.C. potters from Vancouver, the North shore, Richmeuo,
Haney and Port Kells, came together on Thursday, July 29ta, for 1
One-Day Workshop with Clay, led by the Well-knowa California potter
Mir, Hal Riegger. The informal workshop was held out-of-doors at
Marjory Feimann's new studio, jokingly referred to as "The Plar-
house", at 2873 W. 42nd Avo,, in Vancouver, An unusually becutiful
day and a raro chance to work and talk with [cllow-potters aad shar: a
picnic lunch with them combinud to make this a pleasant occasica

cnjoyed by all.

After a brief introduction in which Mir. Ricgger outlined his general
approach, potters wore given a serios of problems with clay, cacn
followed by evaluation and discussion, Ono surprise problem involved
starting a pot, then, without warning, having to trade it with a
neighbouring pottor, cach finishing the other's piece, Another rrobl.m
which illustrates Mir. Riegger's boliof in the creative use of cnz's
surroundings, required potters to build something with clay on 1
lovely broken-down, moss-covered fence. Small figures and birds
reclined in cracks, spaces between boards were filled wit. filigrwe;
the finished creation was a delightful fantasy. And, finally, two grcews
of about 15 potters cach worked on communal masterpicces togeti.cr,
producing what might have boon lunar landscapes or prehistoric buiste,
3.