Above: Barbara Toohey Shrine Por S01, come &, lichen tlane, fh: $5.4 cm Right: Clive Tucker Over he Oeea 2001, cone &, porcelain, sprayed and brushed glazes, h: 35.6 om Cloudflower Clayworks 6928A Palm Ave Burnaby BC V5H 3M5 604.430.5380 Glaze Workshop I, 1, 11 4 classes each, Jun 7, Jul 5, Aug 2 19:00-22:00, $75 cach Kaku with a Difference 4 sessions begin Sun May 6, $145 Technical Workshop for Teachers | week beginning Aug 15, $225 Kids Clay Camp 4 sessions begin Jul 9, $75 Services to Potters We offer private training. | and 2 day | workshops, technical consulting serv- ices, custom firing, short-term studio rentals and home slay accommestation in South Burnaby for out-of-town pot- ters, Call Jeanne Sanch 604.43), 5380 for information and brochure. 10 Ceramic Contingencies Blackberry Gallery, Port Moody Inthe Blackberry Gallery, Port Moody Art Centre, Ceramic Contingencies showed during March. The exhibition brought to- gether the work of six Emily Carr Institute of Ant and Design 2000 graduates. The artizis represented had developed their work in the environment of the art schoul, working along side each other for at least two years, sharing classes, criticism, and work space. Since the obvious commanalicy in this group of artists was ther shared educa- tional hackground, the show provided an op- portunity to examine works and explore the notion of an Emily Carr style, Jeremy Hatch's work ewokes the in- dustrial, The pieces appear to be small ma- chines, and con- versely, resemble seTving vessels. The function of these pieces is not clear yer each component is precise and assembled as if function is key. The repetitive steely surface treatment reinforce their constitu- ency in the realm of the machine. Maggi Koeer’s utilitarian fonms contrast with Hatch’s work in appearance and an onus On function. Her surfaces are lush and varied, combining the use of bright colours with a wide vanety of glaze tex- tures, The forms suggest gesture, with handles that dramatically stretch beyond the scale and form necessary for function. Jan Smart's painting of luscious fruit isa compliment to the show, Her cobors are strong and luminous, The fruits are so sensucusly represented in three dimen- sions that the viewer feels these as a physi- cal presence in much the same way they experence the ceramic forms that dormi- nate the show. Jim Stamper's large vases propect an un- wavering sense of the absurd. The pots are combined with found objects and evoke other related and unrelated objects. Stamper's surfaces have a rough texture atiracting curiosity and repelling touch. Potters Guild of British Columbia Jim Stamper Pur another pataie on the fine 2001, come 6, (hrowen and al- tered with fake ash and sculptural Gianes. h: G1 cen “TL comes fron a yaut of me that en- compasses the word “plork’, half work and half play, a word coined by iy friend = Jereiny Hatch.” Barbara Toohey has included both sculp- tural pieces and vase forms that could be considered functional, The surface tex- lures serve to unify this group of pieces in that they all employ textures that suggest the natural world. There is an underlying energy that animates the forms, Clive Tucker works with classic forms such as the teapot and serving bowl: to these he adds slip cast pieces. These ele- ments come together to create humour, mystery or a narrative to be explored, He often enhances pieces with ich colour and surface (realment. ‘The extensive variety of the work does not indicate a recognizable style or focus, ex- cept that diversity is the standard. The exhibited works reference contemporary and historical ceramics and the references are as distinct as the individual works. The artists represented may have a shared ex- perience of art school but this show con- firms that cach artist brought and devel- oped their own autonomous interests and style while studying at BCIAD, Barbara Toohey Magel Kocer Jug with Roses 2001 clay planes and decals, hh: 25.4 ca April 2001