"THE WESTERN POTTER" NO. 9. July, 1967.

EDITORIAL

Much has been said about methods for surfacing clay. Some stolidly
maintain that glaze is most proper, others show interest in combining
glaze with overglaze enamel. Children, who are not indoctrinated
with these traditions, readily use their school water paint box to
cover clay with colour and design, thereby imparting a special
excitement and quality to the objects they create. So too the people

of Mesopotamia, Egypt and Greece used paint to enhance bas reliefs
and statues.

Several contemporary artists in our area are exploring media other
than glaze as a surface for clay. An impressive vase with brittle-
dry orange peel imbedded in it comes to mind. Acrylic, oil and
enamel coated clay objects have been displayed in Vancouver
galleries. A bulletin from Toronto shows David Long's clay cubes
with photographs printed directly upon them.

We potters can certainly find interest here. We pride ourselves on
sensitivity to form, colour, and surface texture. Some among us
are disclosing new prospects.

In this issue two such artists present their work:
D'arcy Henderson, a painter who has become interested in
clay as a form-surface upon which to paint, presents his
philosophy in his own inimitable (and elusive) style.
Gathie Falk, both painter and potter, uses her impressions
after a recent visit to "Arts of the Raven" as an
introduction to her most recent work.

Editor