~ POTTERS an COLUMBIA a Continued from Page 4 fit, and this decision was quite difficult for me. In the end, my selection reflected my training as a painter and my appreciation for articulate surfaces. Jane McCullah's Walking Within exhibited subtle tonalities, delicate texturing and coherent, considered form. Kim Henderson constructs large slab vessels, the decoration of which demonstrates her graphic sensibility and masterful brushwork. Marita Hewitt's simulated cardboard construction, Transaction (Broken Diptych) explored "the shaky demarcations between waste and value" to create a quiet but powerful work. ‘The grand prize of $15,000 went to Robert Rapson for Himalaya Serves the World 1949 — Farly 70s. A self-taught artist, Rapson constructs elaborate nautical tableaux based on childhood memories, I was enchanted by his efficient drawing, delicious scumbles, keenly observed detail and beautifully modeled plastic form. His capacity to conjure up an improbable scene—complete with ocean liner, whale and mermaid—tapped into collective fantasies of far-off places and celebratory events using the most direct and expressive of means. The exhibition opened to great fanfare and gale-force winds, making for a short but exciting evening. A trio of young Samoan opera singers was engaged to serenade the audience, and the silos were lit to resemble a flaming kiln. Unfortunately, a family emergency forced me to return early before the opening, but I received excellent accounts from the director and from several blogs that covered the event (see links below). I very much regretted not being able to see the work in place and to meet the artists and supporters who make the event so important to the ceramics community. While I was only in New Zealand for ten days, my time was memorable and exciting. In addition to jurying the work and contributing to the catalogue, which was designed and produced in time for the opening, I presented three talks on Canadian ceramic, was shepherded by Moyra Elliott, doyenne of NZ ceramics, to visit several ceramic studios and galleries, attended a Powhiri, a Maori ceremony designed to welcome a new director to the Maritime Museum, viewed studio ceramics and Maori cultural artifacts at Specialty Courses & Workshops at the Surrey Art Gallery Registered Open Studio For this non-instructional studio time, you must have taken at least one ceramics studio class at the Surrey Art Gallery, and feel comfortable working on your own. Our studio technician will be on hand to answer questions. Clay is available for purchase during Open Studio hours. January 18, 10am—2pm 8 sessions $101.50 | #4346279 surrey art gallery | E Canada Council Conseil des Arts cD for the Arts du Canada surrey centre 13750 - 88 Avenue cme BRITISH COLUMBIA surrey.ca/artgallery SU RREY po Noe Slip Casting 2) Slip casting is ideally suited to producing shapes not easily made on a wheel, creating decorative elements that can be added to other pottery pieces, and for small-scale production runs. Learn the tips, tricks, and processes for this versatile technique. March 30, 11am—Spm 1 session $75 | #4351130 Instructor: Russell Hackney russellhackneyceramics.com the Auckland War Memorial Museum, viewed. and handled studio ceramics at Webb’s auction house (where excellent prices are realized for important studio ceramics) and was thunderstruck by the opportunity to explore a private collection of ceramics by noted New Zealander Richard Parker and others, which spanned floor to ceiling across three floors of a downtown loft home in Auckland. Everywhere I went I was met with kindness and interest, as New Zealand potters are keen both to share their wonderful work and to learn about ceramics in other countries. A year ago, I knew very little about New Zealand ceramics. Today, while I am yet a novice, I haveamuch greater appreciation ofthe ceramic culture of that unique island nation. I observed many similarities between NZ and Canada, such as spectacular landscapes, the importance of aboriginal culture, difficulties maintaining communication and educational opportunities with small populations spread across challenging terrain, and the strong and growing significance of artistic ceramic culture. Interesting parallels connect NZ and Canadian studio pottery regarding the Leach legacy, history that is being explored through exhibitions and monographs in both countries. The Portage Ceramic Awards recognize and make significant contributions to New Zealand ceramics, and they assist in building an informed and supportive public through annual exhibitions and high- production value catalogues. Inviting an international juror every year raises the profile of New Zealand ceramics around the world and brings fresh perspectives to artists in that country. Perhaps it is time for us to work towards something like that here in B.C.! All photos courtesy www.artsdiary.co.nz. For more images and comments see: www.artsdiary.co.nz/bt42/1207/1.html http://conetenanddescending.wordpress. com/2013/10/24/this-year-at-the- portage Potters Guild of BC Newsletter - December/January 2013/14