Clay Symposium Presenter - Michael Osborne Artist Statement Over the years, I have been attracted by the mystery of clay and its potential as an expressive medium. My childhood years were spent in a geologically captivating environment near the Atlantic ocean. This way of life has shaped my orientation and interests in clay and art over the years. At Champlain Regional College in Lennoxville, Que- bec, Canada, in 1977 I was introduced to handbuilding and wheel forming techniques. I soon discovered the potential energy and con- struction possibilities of clay. Painting, drawing and construction have been part of my working methods over the years. Pottery also became an interest and practice as part of my art and craft production. In 1985, my work moved toward an environmental installation, and sculptural context. I like to use architectural design and influences in my work. This is paral- lelled with the pottery as a vessel and the history of clay as creative sculptural/architectural medium. I like to set up a dichotomy be- tween the flowing intuitive nature of clay in the wet state and its potential as a rigid inert expression in reference to steel, wood, or glass. This sets up an association between human sensibilities, ecology, in- vention, and technology. The history of man, nature, and the earth are used as potential themes to develop an evocative and visually pleasing artwork within the envi- ronment. This experience is related to the language of clay. The whole clay working process is important, including handbuilding, wheelwork, surface treatment, clay bodies, and firing. The many working and firing methods used in clay are associated with many kiln atmospheres and provide a rewarding experience in the creation of my art work. I am interested in the relationship between clay, art history, painting, drawing, east and west cultures, and the human condition. The pres- ervation of nature and the earth are important in my work. I like to recognize clay as parallel to all mediums in artistic expression. My object is to present people with a pleasing and evocative environment. and others Watson with Special Advisor Charmian Johnson. 2-3pm_ Glenn Lewis, Potter, Roberts Creek, BC 3-4pm John Reeve, Potter, Abiquiu, NM statutory holidays. Thrown: Influences and Intentions of West Coast Ceramics Upcoming pottery exhibition and symposium at the Belkin Gallery. Artists: Mick Henry, Tam Irving, Charmian Johnson, Glenn Lewis, Wayne Ngan, John Reeve, and Ian Steele with Donna Balma, Kate Craig, Gathie Falk, Robert Filliou, Shoji Hamada, Bernard Leach, David Leach, Janet Leach, William Marshall, Michael Morris, Exhibition Dates: January 30 - April 4, 2004 Exhibition Opening: Friday, February 6, 8 - 10 pm This exhibition presents over 700 ceramics produced since the 1960s that are influenced by the studio pottery movement of Bernard Leach and Shoji Hamada. “Thrown” examines the context in which the interest and development of studio pottery arose in the west coast area and in relation to post-war modernism and counter- culture. Included is a selection of Leach Pottery, “Standard Ware,” and the work of four potters from British Columbia who apprenticed at the Pottery in St. Ives, England: John Reeve (1958-61, 1966), Glenn Lewis (1961-63), Mick Henry (1963-65), and Ian Steele (1963-65, 1967-69). Co-curated by Lee Plested and Scott Symposium Sat, Feb 7, 1 - 4 pm Lasserre Building, Room 104, (Fine Arts, UBC, 6333 Memorial Rd) 1-2pm_ Alan Elder, Curator, Canadian Museum of Civilization Artist Talk/Tour Tam Irving, Potter, West Vancouver, BC Sat, Feb 21, 1 - 2:30 pm, Belkin Gallery For more info., contact Naomi Sawada at tel: 604-822-2759 or fax: 604-822-6689, nsawada@interchange.ubc.ca. Morris & Helen Belkin Art Gallery, University of British Columbia, 1825 Main Mall, Vancouver, BC. V6T 1Z2, Canada. www.belkin-gallery.ube.ca. Hrs: Tue - Fri 10 - 5; Sat - Sun 12 - 5 pm; closed Mondays and 4 Potters Guild of British Columbia Newsletter February 2004