All in all, a great workshop for earthenware and non-
earthenware devotecs.

Linda Bain-Woods

Further reference to his work can be found in Studio
Patter, Vol. ll. No. 2; Ceramic Monthly, December 1983
(ane of the issues gone missing from our Library), and
in Down to Earth, a book which profiled a number of
interesting Canadian ceramic artists.

(Thanks, Linda, for your article, and a copy of the
recipes for earthenware clay bodies and glazes used by
Walter and the NSCAD bunch are available for 50¢
fromm the Guild office, Ed.)

OPPORTUNITIES

The Community Arts Council of Vancouver is spon-
soring its Annual Juried Exhibition, mixed media.
for the residents of Vancouver. It is Vancouver's
regional show for “Images and Objects VII". To submit
submission proposals, send self-addressed, stamped
envelope lo 837 Davie St,, Vane., V6Z1IB7, Deadline
for application is Feb, 10,1989. Show is March 16 to
April Ist, with opening reception on March 16 at 7 pm.

DESIGNED FOR PRODUCTION: MADE FOR USE
The Cartwright Gallery Is planning an exhibition on
production crafis in Canada to travel to Canadian
galleries and museums in 1990. A proposed illus-
trated exhibition catalogue will assess craft marketing
in Canada, and will profile makers and their approach
to designing and producing multiples of functional
objects. May 31 is the deadline for submissions, To
receive a call for entrics form, call or write Cartwright
Gallery, 1411 Cartwright St., Granville Island, Van-
couver, V6H 3R7, (604) 687-8266.

1989 Portland Artquake Artist's Marketplace:
September 2-4, 1989 in downtown Portland, Oregon.
Application deadline April 1, 1989. Contact Guild
Office, or write P.O. Box S100, Portland, OR, 97207.

POTTERY STUDIO MANAGER POSITION: The False
Creek Community Centre ts searching for someone to
fill the above three (3) hours/week job. Application
deadline; February 17. Call Nancy Reynolds at the
Centre at 665-3425.

KINGSMILL'S QUOTES

A few summers ago [ gave a week-long workshop in
northern B.C. It had been quite a joy for me because
the people were bright and responsive and 1 had been
given a small self-contained motel unit on the banks
of the Nechako River, My evenings were fabulous: the
vast sky was filled with incredible sunsets, and the
river was rich with birdlife and the unusual sight of a
dozen stranded goats on a small island nearby.

Near the end of the week , one of the more vocal
students mused aloud, “My cousin said I wouldn't
learn anything fl went to one of yqurworkshops”. The
silence in the roorm was only shattered by the sound
of students’ eyes elther shutting completely or rolling
upwards into their skulls. "But", she added. “I've seen
lotsa things I'lluse”. There was a sigh of relief, some
nervous, halting giggles, and a general clearing of
throats.

In that moment and several times since, I've wondered
if it ts the teacher or the students who make for that
special exchange of ideas, techniques and technical
information seen im successful workshops. Indeed,
the person “Leaching” must be committed to the idea
of working with clay and willing to pass on whatever
skills and thoughts he's accumulated.

But there are also responsibilities the “student” must
assume. They must be willing to participate, to ask
questions relevant to themselves, to seek clarification
of points, and ta see the weekend workshop as a true
break from their own involvements with clay, I you
hear people complain about not getling something
from a class, ask what they gave to the class, HW they
sat there, expecting to be enteniained, if not enlight-
ened, disdainful of moving for fear of mismanaging
their constipation (mental and physical), they they
will not get much out of any workshop. The ghost of
Bernard Leach could give one and not impress them.

I've concluded that if both the teacher and the student
are prepared and open to the Now of work, then some
posilive exchange can occur.

What do you think? Why not send a note to Jan,
telling of your best/worst class/workshop experi-

ence?

Bob Kingsmill