electric kiln. I know that I was not alone inthis feeling: Marjor-e
Roberts rushed home, bought a book on building gas kilns and has,
I understand, been reading it day and night and has now started
building.

The local Oregonians were most kind in driving us around town to
visit anong other things, the Contemporary Crafts Gallery, the
University Ceramics Department and the Pacific Stoneware Pot Shop.

Never in my life have I been exposed to so many pots. Marjorie
and I returned to Canada by bus, tired and happy, clutching our
"Original Works of Art" packed in whisky cartons. This raised a
few eyebrows at the Customs but we must have looked like
innocent types; they let us through without unpacking them.

It was a wondertul summer workshop, getting together with nice
folks in a common interest, sharing ideas anc recipes, learning
new techniques, what more could any potter ask for?

Elspeth Watson

ee Se Se ee

WAYNE NGAN AT HANDCRAFT HOUSE

In December the Handcraft House hosted a show of Wayne Ngan's
latest work and as usual it was a very good representation of this
artist's varied avenues of exploration.

Raku was strongly featured in this show with many large pieces
demonstrating his fine Raku body and strong glazing technique.

The Raku teabowls were exceptionally well executed as they really
showed off Mr. Ngan's sense of style and feeling for the bowl shape.

Several big bellied, smal] mouthed stoneware vases were especially
exciting, as they seemed to catch and contain their moment of
creation by virtue of their swollen stoppered shapes.

It was the stoneware bowls, however, that were the most appealing
in the show, for in the bow! Mr. Ngan really finds his most fluid
avenues of expression. They have a sensualitv and charisma about
them that takes one out of the mundane and into the ethereal, and
this, together with his sure and bold approack to brushwork, gives

us a fine feeling of where Mr. Ngan's head is at. 31.