Continued from page 7

subdivided into chapters. For exam-
ple, ‘Fundamentals’ consists of:
‘Drawing in Two = and Three
Dimensions, ‘Sign and Symbol’,
‘Pattern and Space’, 'Color Theory’,
and ‘Color and the Ceramic Surface -
Art, Alchemy, or Science?’ Part 1 reads
like a first year art theory textbook and
is an excellent resource for surface
design in any media. Heather Spears’
essay "Drawing" appears in the first
chapter. She discusses the abstract
nature of line - understanding what
‘line’ is and what it can do. Farther
into the book, in Part 2, there are sev-
eral how-to articles dealing with
"Marks of Slash, Scratch, Carve and
Cut', Marks of Addition and
Removal’, ‘Marks of Impression’ and
many other imaginative definitions
and application of ‘mark’.

Almost every page has a colour image
of at least one ceramic object used as
an example of process. The quality of
the photographs throughout the book
is excellent (with the exception of a
couple of obvious digital enhance-
ments) and the range of work repre-
sented is staggering. Diagrams and
step-by-step demonstrations of tech-
nique are also very good. Hopper
looks at historical as well as contempo-
rary examples of ceramic work as well
as ancient calligraphy, and other
humanly made markings as recorded
by ethnographers and anthropologists.

The single draw back to this book is
that it is soft cover. While making the
price more accessible, the content of
this publication is so rich that it will
soon become dog-eared in anyone's
possession. It would make an excellent
textbook for a first year ceramics
course to introduce students to a
world of possibility extending well
beyond the allure of any one firing
atmosphere or throwing technique.
For the experienced potter it serves as
a reminder that developing an aesthet-
ic is only a question of taking the time
to look, explore and respond to mate-
rials.

Arrowsmith 50/10 Masters Series
March 26th. (Easter Saturday) at the Parksville Community Centre.

This must be the bargain of the of b & B's and motels and camp-
year for workshops, with Bob sites available. Many studios will
Kingsmill Don Hutchinson, Sally be open on the Sunday and pro-
Michener, Gillian McMillan, viding chance to visit and see what
Gordon Hutchens and Victor are friends on the Island are up to.

Duffhues, with Walter Dexter as Early bird registration - until

the keynote speaker. This will be February 4th for only $65 includ-
followed by a dinner for $15

with Paul Mathieu as the dinner
speaker. We encourage Vancouver

ing lunch.

For more information, prices and
to register go to:

otters to go together, car or van- . .
P 8 5 www.arrowsmithpottersguild.be.ca

pool and spend the weekend on
the island. Limited billeting will
be available, and we will have lists

Arrowsmith 50/10 Masters Series

Sally Michener: Background and Plans for Symposium

Fifty years ago I took my first University pottery classes with Warren McKenzie, one of
Bernard Leach's major apprentices. In the 1970's I returned to school and received an
MFA. It was then that I was seduced by handbuilding for its variety and playfulness. I
have been a studio ceramic artist in Vancouver since 1973. After 25 years, in 1998, I
retired from teaching at ECIAD, where I had the pleasure of working with many of
BC's ceramic artists.

I have been fascinated with the human body as a subject in my art for 30 years. I think
of the body as the place where the spirit is housed. It is a functional form and also a
work in progress. Changes are constant. The human body is never static. My sculp-
tures evolve. I don't usually start out with a clear idea of
what a piece will look like. The work evolves through the
process of exploration.

My plan for the Arrowsmith Symposium is to present
three different programs. One: I will work with wet and
leatherhard clay on a body-centered sculpture. I would
like viewers to also work on a related project. This will be
a hands-on, practical session. Two: I want to present a
slide lecture about my work and influences. This will be a
mini retrospective. Three: A slide lecture will focus on
body-related works in art, especially in ceramics. This
will include historical and contemporary images.

Sally Michener

Photos courtesy Sally Michener

Potters Guild of British Columbia Newdetter January 2005