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Rebecca Robbins
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Eliza Au

OTTERS

March 2007 Volume 43 No. 2

BUILDING STRUCTURE:

ELIZA AU PUSHES BOUNDARIES AS THE FORTIETH
HALVORSEN ARTIST-IN-RESIDENCE

My obsession with molds stems from the urge to know how common
objects are made. On the street, in the workplace or in your home,
the mold-made object 1s ubiquitous. My curiosity and experiences in
and out of art school has yielded interesting outcomes, reflected in my
work.

Always a Vancouverite, I began art school at the Emily Carr Institute of
Art and Design. I began doing ceramics seriously as an exchange student at
the Rhode Island School of Design and later transferred to the Nova Scotia
College of Art and Design where I recetved my BFA. After my undergraduate
degree, I was an intern with the Kohler Arts /Industry Program for ten weeks,
which influenced my work as well as my view on mold-making and mass
production.

In 2006, I was fortunate to be accepted as the Halvorsen Artist-in
Residence with the Contemporary Crafts Museum and Gallery in Portland,
Ore. The organization was constructed with funds from the Works Progress
Admunistration in 1937 and, after 70 years at its original site, will soon relocate
from their residential site to downtown Portland. Since the late 1970s, the
organisation has hosted a ceramic residency that has existed at a small studio

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next to the main gallery. This is a six-month residency, which
includes use of the studio, a stipend from Georgie’s Clay
Supply and a solo show at the museum.

My proposal was to create a large c-shaped ceramic
structure made from translucent high-fired ceramic bricks, lit
from the mside. The piece is large enough for the viewer to
walk into the enclosure and have the environment tower over

POTTERS

GUILD
BRITISH

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rs (CUMBIA