The following review was prepared for the May issue af the Newsletter: thanks to Anna Ajarnason for being patient in having it printed « little late! The JOHN CHALKE WORKSHOP T attended all but the last hour of John Chalke's workshop on April 3rd at the Emily Carr College of Art and Design. Before noon, the slides he showed took us through John's personal/petting histery, He talked to us about his pots and the influences on his life that have led him to make the pots. Sometimes the influences were direct and obvious, somelimes they were indirect and circumstantial, After lunch, John continwed in the same vein as the morning, talking about the how and why of pots, kilns, plazes, influences and life's stuff. He showed us his little-bow] glaze tests, sprigs, silk-screened Japanese oxide decals, and ahards from all over the world, each with their own history and story to tell. John’s major interest for a number of years has been glaze used as a sculptural aspect to the mostly plate and vessel forms he has been working on, Making plates on drape molds and working with that kind of form (plus others), he has been exploring the possibilities for the (1) form, (2) imposing or finding content on and/or in the form, and (3) glaze as a decoration and or an integral part of # 1 or 2. The workshop was about process, influences and a way of working. John showed us how he reacts to what is around him. He showed us how that stuff finds its way into his work. He admits detail through each of his senses, in an almost exhaustive way. It is synthesized on both conscious and subconscious levels to be born as clay works, His work i intellectual, visceral, cynical, humourous, warm, tough, emotional and more. His workshop was the same way. Anna Bjarnason And thenks, Kathy, for the following fut of news from the recenily formed West Coast Clay Sculptors’ Assoc. SCULPTORS ATTEND WORKSHOP On Saturday May 16th, seven fellow sculptors and | travelled to the Art Palace in Bellingham to take part in a one day bust-sculpting workshep given by Trish Harding. Trish is well-known in Bellingham for her porcelain dolls exhibited at Earthenworks and the Chuckanut Hay Gallery. For this workshop, the Art Palace offered low-fire clay and porcelain. We all chose porcelain. What a surprise! It wasn't like working with the sculpting clay we were used to af all. *“Gumimy", rubbery’, too soft, “weird”, were some of the expressions we used when we started. Trish walked around and gave ua tips on what proportions ta look for, She also helped us manipulate the clay to get the results we wanted, Time flew by quickly as we worked on our pieces. We started to change our minds about working with porcelain. The other workshop participants were curious about the ‘Canadian Contingent" and asked us questions while we were messing about with our projects and esting our potluck lunch outside. They complimented us on forming a sculpting association aud expressed an interest in joining our group, As a result, the West Coast Sculptors’ Association is pleased to announce a new membership category. Alfiliale memberships entitle individuals sud societies or organizaliona outside the Lower Mainland to receive our quarterly newsletter and attend our workshops whenever possible. The rate for individuals is $10 , and for groups, $20. If you're interested, drop a note and a cheque to the West Coast Clay Sculptors’ Assoc. 27 - Th Noons Creek, Port Moody, B.C. VW3H 4V4 Kathy Leko, Burnalry Walter Dexter haa recently returned suddenly from a trip in Turkey after suffering a stroke while travelling. All his friends in the Guild wish him a strong and speedy recovery.