Corner Chair

| would like to express my thanks to Karen
Opas for che great job she has done as
editor of this newsletter. We shall miss her
style and sense of humour and wish her
good luck with her studies in computer
PhOgeuMrninig.

[ would also like to acknowledge Laura van
der Linde, who has resigned as a director
due to the impending birth of her first
child, and thank her for ber efforts on
behalf of members of the Potters Guild,
particularly in designing and getting started
the renovations to the Gallery of BC
Ceramics. My best wishes to Laura and her
husband on their new life as parents.

My wite and | made our annual visit to the
Circle Craft Christmas Fair and were
pleased to see a greater represencation of
potters than in previous years. The displays
were well done with lots of interesting work
though one thing some potters seem to
neglect is identifying themselves well. For
instance, the firse booth | saw had no sign
idennfying the potter whose work was in it.
Several other signs were too small to have
much impace. Part of a customer's
motivation for buying art & craft is to
enhance their identity as a person with
good taste and for many that entails
iderictifying with you as the artist and
producer. That is why people enjoy visiting
studios and buying directly from the artist -
they get a greater insight into the
individuality of your work if they know who
you are, It therefore becomes advisable to
market yourself as well as the objects you
make,

The board has decided to limit applications
for the Potters Guild of BC scholarship to
secondary students in grade 12 who are
planning further education in ceramics.
This will hopefully eliminate any ambiguity
and target a group who have few funding
oppertunices. When our scholarship fund
reaches a point where more scholarships
can be awarded we can then help other
levels of students, i¢ undergraduates or
professional development.

I hope to see lors of members out to our
grand book launch at the Gallery of BC
Ceramics. We will need everyone's help to
sell our beck,

Rom Vallis

North-W ics
Foundati

To NWCF Commirtee:

[was a recipient of a Maureen Wright
Scholarship for the "Altered Extrusions"
course at Mudslingers Studio, June & - 12.
It was a rewarding workshop taught by
Linda Doherty. Enclosed is a picture of
the pieces made by everyone in the
workshop as well as a finished piece by
me. Again, thank you,

Marguerite Ko

(I was unable to include che photos im this
issued due to space limétaricms. They will
perhaps accompany an article by Marguerite
in a future issue. JM)

Letters to the Editor

Responding to Karen Opas' editorial in the
Sepcember “98 issue:

First, let me thank Karen Opas for all the
cheerful steady effort you poured into the
Newsletters. | have enjoyed your
thoughts, and as a fellow clay instructor
we share many philosophical perspectives.

Karen referred to the four lewer mainland
college clay programs: “What if one of
them were to specialize, become the place
to go if you eventually wanced to make a
living as a potter?” She continues to
introspect on what would be most
importance to include and accurately
describes the three year diploma program
from Kootenay Schoo! of the Arts
Cooperative, Centre of Craft and Design,
606 Victoria Street, Nelson, BC, VIL
4K9.

What is really different about us is that
mast instructors are professional working
artists who make their Hving in cheir
chosen field, and teach only part-time,
Students choose from seven main studios,
Wood Products Design, Jewellery and
small object design, Mixed Media, Fibre,
Metal, Writing, and lase bur not least with
the largest enrollment, CLAY! In
addition to the First Year Clay Studio
programs, in second year scudencs cake:
203; Fundamencals: Intraduction to
Plaster and Moulds/Paperclay/Raku and
Kiln Technology

204; Glaze Technology

205: Wheel & Hand Building Techniques
206: Clay Philosophy & History, Past &
Presen,

page 3

and complete a body of self-directed work
that will include their goals and contracts
for the year end show in 201-202 Studio
Course.

In Third Year Clay, primary importance is
placed upon the 301-302 Studio, which
requires an enormous time commitment
to produce their self-directed contracts
and portfolio exhibition. Students also
complete:

303: Kiln Technology

304; Glaze, Surface and Clay Technology
305; Issues and Ideas, Pase and Present
306: Professional Development

In addition, all students also receive an
excellent program of Core Studies.
Academic requirements are in Art
History, Craft History, Colour Theory and
Professional Practices (Business),
Students may receive assistance if meeded
with literacy and computer skills,
benefiting from our loose liaison with
Selkirk College. Design requirements are
in both 2-D and 3-D, and in
documentation, and students must
complete six of the following Drawing
electives thar coordinate with their
chosen studio(s); Figure and Anatomy |
and I], Conceptual I and II, Perceprual |
and [, Mechanical, Ilustration | and IT,
CAD (and industrial design computer
skills).

All chis in che beauriful friendly cown of
Nelson. It is easy to forget that people
don't even know that we exist when we're
having so much fun here.

And I'll end with a toast to the Guild's
newest member to be accepted into the
Gallery of BC Ceramics, our ‘98 Clay
Diplema Student, Katherine Hoffman.
Way to go, Kathi! | so much look
forward to watching your lovely work sail
out into the world. And heads up, all!!
Vision, talent, passion and commitment
are abundant here at KSA Clay,

Thanks again for all the effort, and to all
the board members, especially Karen,
merci! And special appreciation to Linda
and all who slaved countless hours
organizing the feat chat is THE BOOK,
congratularions! !

Sincerely yours,
Pamela Nagley Stevenson