Vancouver, B.C. V6 IR?
(04) 63-9629

Potters Guild of British Columbia

1359 Cartwright St., Granville Island

NEWSLETTER

APRIL 1990

ISSN 6319 812X

ANNE HIRONDELLE WORKSHOP

To see Anne's work ts literally an eye-opener, since it
is probably twice as large as life, something one
doesn't get from photographs.

Besides making impressive vessels, Anne also writes
very well, and her Ceramic Review (No. 112, 1988)
article, “Teapot as Metaphor”, is again quoted here:

“The work begins with a series of sketches. I use these
as a personal shorthand _for realizing ry three-dimen-
sional ideas. I keep them ir.a notebook in two sections;
new forms ane existing forms.”

Tdraw to clarify my ideas. Occasionally, ! am able to
visualize a form arid draw it complete. More often, the
forms evolve in the process of drawing. Inevitably, ifT
translate them into clay, they change: sometimes
slightly; sometimes dramatically. Some ideas, I have
discovered, are available to me only through the clay
itself. Once a clay form is complete, I alter the original
sketch to reflect the finished piece."

Later in the article, she discusses the relevance of her
work: something we may well give some thought to , in
eonjunction with the concerns raised on page two of
this Newsletter issue,

“To exist in the world, my work must have a meaningful
Junction. The scale of the pieces makes therm slightly
awkward for actual everyday usage, but still reserves
the possibility of function on special occasions using
deliberate care. Their symbolic function is equally
important. When they are successful, the pleces be
come archetypal receptacles for ideas, feelings, asso
ciation. Sometimes, my goal is to create forms that
appear full, forms that overflow with memories and
sensations beyond their actual physicalness. A teapot,
for example, need not be full of tea to communicate the
spirit or ritual of tea. Other times, emptiness ts central
to the function of a vessel: drawing the viewer in to
consider the unknown; asking him or her to fill tt with
private meaning.”

“Because lrely onthe vessel as my core metaphor, Irely
on tradition. [see my pleces as a personal restatement
ofa very old staternent, as a visual thread between the
past and the future asl eke oul meaning inthe present,
They are expressions of my desire for order, harmony,
Yootedness’, and a little grace in this world that feels
as though tt ts flying apart. Through my vessels, I hope
to speak, not centre stage, but in the quiet coritempla-
tine niches and comers of the individual and collective
psyche.”

Continued ort Page 3

GUILD MEETING

April 19, 7:30 pm
Studio 5
1359 Cartwright

with
LAURA WEE LAY LAQ
on
Marketing
and Directions in her New Work