Welcome to the inaugural edition of the Gallery of BC
Ceramics newsletier. In this quarterly publication, the
Potters Guildof BC wall give you an inside Look inte the
Gallery's upcoming events and informative introduc-
ions to newly represented artisis, Gur plans include

forfuture exhibitions. Allin all, an enjoyable escape into
the world of clay!

We at the Gallery thank you for your cominued support.
As the largest retail outlet for pottery and ceramic art in
the Vancouverand Lower Mainland area, we continue to
offer a wide mage of quality work for our discerning
customers! Please keep in touch with ws. We welcome
feedback on the potters you see in the Gallery, your
reaction ta this newsletter amd suggestions for future
SSUES.

[ wish all our members and customers a healthy and
prosperous 2000,

Jane Matthews
General Manager

Blossoming Stone: an unfurling of the heart
February 2— March 5

My fascination with the conceptol a universe within a universe ts al the
center of everything I do in clay. Detals within details of natural
objects, like plants, are far more visually interesting than the plant as
a Whole, Each detail of an individual's psychology is infinitely more
complicated than any one vague concept of that person's identity. My
current work is 4 focus on minute aspects of form in the natural world
and, more specifically, the emotional persona contained in the vessels.

The pieces themselves are simple open forms. They emulate both fallen
fresh petals of flowers and excavated pieces of bone. The clean lines
contrast with a subtly mottled surface. Viewed from far they are aclean
white: on closer inspection they are crackled, pockmarked, stained,
aged and worn. These characteristics add to the piece as a whole but are
not immediaicly evident. Each prece sits on a black enamel stand like
an artifact, but on its own is just a fragment of a pot

The nature of clay itself is what leads to the character of what] make.
Clay 18 dirt, the earth's exfoliated silt. [t metaphorically calls to deep
emotions because it is a base material. In Jungian terms, we must
embrace the shadowy subconscious or subterranean aspects of our-
selves in order to be whole. To this end, ] workin clay and model what
[ consider to be the more desirous aspect of my self. [ look to clay to
divulge my shadow and work with it until the piece feels complete.

inner Totem 1938 height: 60.0 cm Rachelle Chinnery

5 Tintin Mell af Petst ek rt it a a