D

COLUMBIA

A Conversation with Gillian McMillan ay zewis Kennett

Recently I had a chance to visit Gillian in her home
studio and we talked for a short time about her history.
Growing up in rural England where people made and used
handmade pottery, Gillian always had an ambition to go
to art school. However, because of financial constraints
she decided to become a teacher.
Her first job was in Bristol teaching
Grade ‘Three. Teaching in the public
school system meant a class size of
34 students. Searching for a more
personal connection, Gillian tried
teaching in a private school back in
London where the classes were only
12 students, with one additional
unique feature; all the students called
her “Sir.” Gillian then immigrated to
Canada, and, in 1971, settled in Port
Moody and started potting. In 1991,
Gillian fulfilled her goal of attending
art school and enrolled at Emily Carr
for three years.

“The classes I took at Emily
Carr were pivotal in my artistic
development,” says Gillian. In Port
Moody she was a strong advocate for
converting the old city hall building
into an Art Centre, and was instrumental in setting up
the clay program there. Gillian’s current focus is her bird-
shaped jugs that she creates in her studio and fires in her
kiln at the rear of her property.

Lewis - Can you describe your creation process?

Gillian - | love translating birds into jugs. They actually
started when I was making jugs with large spouts. I
noticed that these looked a lot like birds and it has been
jugbirds ever since. Actually, the creation process is the
fun part, I love colour and the birds let me really enjoy
colour. I have an idea, draw the form and then work out
the process to make that shape come to life. Function
and the shape are the challenge, function is critical—my
birds are not just ornaments.

Tuse about 15 grams of stain in 100 grams of dry slip, this is
how I can achieve the colour depth that I am after. | make the
base slip up in 5000 gram dry batches, and then make up small
amounts using the stains that I need. I glaze my pieces with
Deb’s Clear glaze and I work with Darcy’s earthenware clay as
I find it quite forgiving. Ihe making of the birds is a lot like
dress making; you cut out the pieces then assemble them into
the shape you have designed. I try to make the pieces as light as
possible and I love doing things that you are not supposed to be
able to do with clay.

L - Do you have advice for potters just starting out?

G - Watch out or you will get hooked! But seriously,
they should learn from more than one teacher, there is
more than one way of doing everything. ‘There are not
hard and fast rules, there is no right way. To develop

a sense of aesthetics look at other potters’ work. Start
with night school courses then sign up for more formal
training.

L - What advice do you have for more experienced potters?
G —To make a living you have to be in galleries or be
a teacher. Take the time to play; everyone says it but
take the time to really do it. Do something you have

Continued on Page 7 McMillan

Pandy -on expejence

kootenay school of the arts

Earn a 2-year diploma in clay, fibre, or
jewellery and small object design, ora
1-year certificate in the metal studio.

Call now for details on full or part-
time programs.

Selkirk \@) College

For further details call 1.877.552.2821

or visit selkirk.ca

Potters Guild of BC Newsletter - May 2008