Guild News

We have decided to publish a newsletter this July in order to fet
members know well in advance about planning for next year's
Made in Clay event As a result of input from this years
participants, the board and a committed group of members
have decided to begin planning for mest year's event now in
order te ensure better organization and publicity for the event.
This issue of the newsletter contains important information for
all members who may want to participate next year, Please pay
special attention to the registration dates and other
requirements that are set out herein elsewhere.

In the las? issue, coverage wes given in this column to the
gallery inventory, It was mistakenly stated that no previous
inventory had been completed for the gallery. We have since
discovered that an inventory had been done in previous years
and apologize for this error.

We have now taken delivery of two pieces of Axel Ebring pottery
donated to the guild by Enid Damer of Kamloops. The pieces
will eventually go to the Vernon Museum for inclusion in their
permanent collection. in the meantime, the pieces, a mug and
candieholder, will be on display in the gallery where they will
reside until January 1996. They are a good example of early
pottery making in British Columbia using locally found
materials for both the body of tha work and surface glaring.

The glazing flows from an interesting light green to a
mauve/pink tore,

We are continuing renovations to the guild offices as time and
funds permit, The upstairs area has now been painted and
cleaned up. As weil, new blinds have been installed. The
library is accessible again and we even have a new book of two
-one of which was taken out the day after it was delivered.
Next step is to set up a desk so Jane can get away from the
gallery to a private workspace once in a while. VWe will also be
installing a bank of cupboards to provide additional storage. It
would be really nice if we could warm up lunches, etc. If

- QUOTABLE QUOTES-

In graduate school, he was told that he had to do
sculptural work or he would not graduate. He resisted,
but then thought of an unorthodox approach that was

acceptable.

“What I did was throw a very classical piece about 3 |
fect tall, beat it with a 2x4, put a metal pipe through it,

dumped a bucket of slip on it, fired it up, took 10

different cups of 10 different glazes, threw them aon it,

fired it, and everyone said, “What a beautiful piece of
| [ taal

“] got my master's degree, then I pitched the piece off
the roof of the art department.” - Potter Charles Bohn
as profiled by Linda Bynum, Ceramics Monthly, June-
August, 1995, p. 78.

anyone has an old, working microwave that they don't want, we
wouldn't be too proud to accept a donation,

-A DIGRESSION -

The first and only time | ever made a pot in my life before this
manth was when | was in grade 6 in Stockbridge,
Massachusetts. It was a pretty clunky thing made of coarse clay
that must have contained a rather high proportion of grog since |
remember the gritty foal of the clay, It was finished in a
commerctal, cobalt Dive glaze and , for some reason, my father
still keeps his pencils in # (some 38 years later), He also keeps
& plaster cast Indian head from around this time too. Just no
accounting for taste. Anyway, this month, Don Hutchinson
gratiously introduced me to the fine art of throwing. Before |
Knew it, two hours had, literally, slipped through my fingers and
low and behold, five more clunky creations had issued forth from
4 mound of much smoother clay than that used on my earlier
excursion, Don says that | started with a sixth century Japanese
form, moved into a Sung dynasty form and finished with a
Danish modem form. The latter oolapsed when It came off the
whee! because the walls were too thin. Maybe this is what Don
means by Danish Modern?

In any event, | think I'll probably keep these, rather than
embarrass myself by offering them to farnily as gifts. iit is,
however, a litte easier to understand the challenge of making a
good pat.

JAN KRUEGER

Relections of NCECA '95

- FRANCIS FRIESEN -

CLAY, CLAY EVERYWHERE and nary a painting to be found!
AS @ painter/clay artist looking for some of each, the absence of
painting in the galleries was conspicuous. Truly, the
Minneapolis/St. Paul art community took the opportunity during
the NCECA “95 conference to celebrate clay. Galleries
everywhere fat least 50 listed in the catalogue] exhibited a full
Spectrum of works from prominent well established artists te the
works of emerging artists and students. The pieces presented
reflected traditional, functional styles as well as contemporary
and experimental,

As fourth year students at ECIAD, Carl Regler and myself were
honored to have clay works chosen for the 1995 NCECA Juried
Regional Student Exhibition. Of the 260 pieces submitted, 41
were Selected, representing 32 graduates and undergraduates
from British Columbia, Alberta, Manitoba, lowe, Minnesota,
Nebraska and North Dakota. The collection was shown at the
Katheryn Nash Gallery at the University of Minnesota,

At the apening reception, Sally Michener and | had an opportunity
to converse with one of the jurors, the flamboyant Leopold
Foulem of Montreal. He reviewed with us his criteria for the
selections, the most impartant being that the work did not look
like anything he had seen before. Roberta Kasserman of
Colorado was the other juror, Where their choices overlapped
these works were accepted, and then each made separate
selections to fill the quota. The many favorable comments on the
student work was Very encouraging.

The effort to invite Canadians to be an integral part of the