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COLUMBIA

Exposing Yourself to Fame and Fortune

Considerations on jurying for the Gallery of BC Ceramics By Celia Rice-Jones

‘There comes a time when you reach a certain level of competence
and you want or need to measure yourselfagainst other potters working
“out there.” You have been, day by day, paddling happily in the slurry
of your workspace with your solitary ideas. You ponder whether your
work would fit into the gallery situation, whether the public will like
it enough to buy and, if they do, whether you can keep your stock
rolling in.

So you study the gallery submission guidelines and policy. The
rules are neither complicated nor onerous but are necessary in order to
be consistent and fair to everyone and considerate of the gallery staff.
It is remarkable how many people, for exhibition submissions as well
as the gallery submissions, just don’t do what is asked.

A panel meets only once a year in spring for the purpose of
jurying work for inclusion in the gallery, so you need a realistic
and well-honed plan of campaign. After you have checked that your
membership dues are paid up, you will need another $10 for the jury
fee. In addition you will need a succinct

artist statement and biography along with
really good quality images of your work.
Snapshots just don’t cut it; you want your tee what the
work represented in the best possible light.

Apart from sound craftsmanship, what jury / faye) ks
the jury looks for is a distinct body of work.
It can be sculptural or functional, raku, .
earthenware, stoneware, porcelain, salt or K Or is a
soda, slipped, decorated or not—however

you work with clay—as long as it has that

distinct body
of work.

spark of je ne sais quoi that reads clearly as
yours. Diversity is built into the overall
gallery displays by the variety of individual
artists so rather than attempting to dazzle
the jurors with the widest possible range

of your virtuosity, it is much sounder to
represent your work with pieces that relate to each other as a grouping,
showing a common thread with an individual, well-developed style.

Importantly too, can you follow up? It is one thing getting six
pieces together, and quite another to keep gallery stock refreshed in
a timely manner, with a consistent standard, in sufficient quantity for
the gallery staff to display for good impact.

‘There are also some elements in common if you are submitting
for a specific exhibition. You already have a fantastic idea, sure-fire
winner, and totally irresistible. Back to your check-list. This jury panel
also meets just once a year, each fall.

Membership dues, gallery jury fee, artist statement and biography
are still mandatory. Now you can go back to more creative plans—
that idea. What the jury needs here is a clear understanding of your
intentions and abilities. The chances are that the proposed work is
not yet made, but your submitted idea must be at a refined level of
development, with a theme, the promise of a professional standard
of workmanship, in sufficient quantity for a good representative
exhibition, plus some spare stock to fill sold gaps. What is the gallery
going to do when the customer wants to take their chosen piece back
with them to Florida, or they need it packed nicely for a wedding
within the hour? You want to sell, don’t you?

Potters Guild of BC Newsletter - September 2008

Now let’s consider the “R” word. Rejection may simply mean that
your particular idea just does not fit the rhythm and balance of the
year, or that the work may not be considered to fit in this particular
location. The panel reviewing submissions for the next year’s slate of
exhibitions has to consider the overall plan. Artists will often find that
work can sit and get stale in one location and yet they have difficulty
keeping another supplied. In this regard, initially selected artists for
the gallery are on a provisional basis for the first six months to see how
the work sits with the buying public. Unfortunately with the current
business climate, salability has to be a considered aspect. Certainly,
rejection can be disappointing, but once the next bag of clay is opened,
you will be all right. As artists increase their exposure, their rejection
file usually increases too. You can check out mine!

S| Celia Rice-Jones Aas sat on jury panels for
the Gallery of BC Ceramics and has also had
her own work juried in (and out!) of various
exhibitions. She and her husband Keith own
and operate Wildrice Studio.

Pottery on the airwaves

Ge member
Fairbank (see article,

April 2008, page 10) will soon
be broadcasting a co-op radio

Bridget

show concerning craft in
Canada. The show, called Aint
Easy: Craft in Canada, will focus
on the craft of pottery as seen

by an emerging 20-something
crafts person. It will be one
hour long and roughly 50-75% dialogue and 50-25% music.

“T believe there is a large gap between the public and knowledge
of craft,” says Bridget in an email. “Without understanding or a
glimmer of public interest in any craft there is an ever-narrowing
market. I think public education and interest is vital to all crafts
people. But how can we bridge the gap? How can I convince
everyone that their cuppa morning joe really does taste better out
of that handmade vessel?”

The show will originate out of Halifax—where Bridget is
now working on her BFA—and will air in the Nelson area
on 93.5 FM and 96.5 FM on Saturdays at 2 p.m. starting the
first week of September. You can also stream the show live at
www.kootenaycoopradio.com or download past shows at
www. kootenaycoopradio.com/recent/

For more information, show topic requests, song requests, tips,
or if youd like to be interviewed...or for anything pertaining even
vaguely to the show contact Bridget at:

itainteasyradioshow@gmail.com