Fire + Earth Catalogue

Home , Akio Takamori, Ceramics museum, David Gilhooly, Hans Coper, Joe Fafard, Jun Kaneko

Table of Contents Artists Robert Archambeau ...... 1 Ann Mortimer...... 112 Loraine Basque...... 4 Diane Nasr...... 115 Alain Bernard...... 7 Ingrid Nicolai...... 118 Robert Bozak ...... 10 Agnes Olive...... 121 John Chalke ...... 13 Walter Ostrom ...... 124 Ruth Chambers...... 16 Kayo O’Young...... 127 Victor Cicansky...... 19 Greg Payce ...... 130 Jennifer Clark...... 22 Andrea Piller ...... 133 Bonita Bocanegra Collins ...... 25 Ann Roberts...... 136 Karen Dahl ...... 28 Ron Roy...... 139 Roseline Delise...... 31 Rebecca Rupp ...... 142 Louise Doucet & Satoshi Saito...... 34 Richard & Carol Selfridge...... 145 Heather Driver Kerslake...... 37 Liz Sinclair ...... 151 Joe Fafard ...... 40 Greg Sloane...... 154 David Gilhooly ...... 43 Tom Smith...... 157 Ruth Gowdy McKinley ...... 46 Alexsandr Sorotschynski...... 160 Arthur (Micky) Handy...... 49 Jack Sures ...... 163 Steve Heinemann ...... 52 Jim Thomson ...... 166 Franklyn Heisler...... 55 Dongyoub Yang ...... 169 Harlan House...... 58 Sadashi Inuzuka ...... 61 Essays Ann James...... 64 Fire + Earth: That Even Play with Tradition ...... 172 Edouard Jasmin...... 67 The Search for the Answer ...... 174 Sunmi Jung ...... 70 John Kavik ...... 73 Enid Legros-Wise...... 76 Marilyn Levine...... 79 Sarah Link...... 82 Jim Hong Louie ...... 85 Susan Low-Beer...... 88 Christina MacEwen...... 91 Ray Mackie & Debra Kuzyk ...... 94 Paul Mathieu...... 97 Alexandra McCurdy ...... 100 Denise McKay...... 103 Dzintar Mezulis...... 106 Sally Michener ...... 109

Covered Jar With Bronze Lid, 1978

Collection of the Burlington Art Center 27.3 x 19.6 x 20.0, Earthenware, glaze, bronze lid.

Flat-sided jar with impressions dividing outside vertical surface into four, like a clover shape from above, with inset bronze lid with semi-circular or half-ring handle, reduction/wood fired stoneware.

Fire+Earth

Collared Bottle, c.1985 Storage Jar, 1978 Teapot, Undated Collection of the Burlington Art Centre. Collection of the Canadian Clay and Glass Private Collection Donated by Mr. Herbert O. Bunt, 1997. Gallery. dimensions unavailable, Clay, bronze lid

16.0 x 14.5 x 14.5, Stoneware, glaze, oxide. Indusmin Collection on loan from Unimin Canada Ltd.

18.0 x 20.0 x 20.0, Stoneware, wheel thrown, salt glazed, bronze lid

Collared Bottle, c.1985 Collared Bottle, c.1985 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1997. Donated by Mr. Herbert O. Bunt, 1997.

16.0 x 14.5 x 14.5, Stoneware, glaze, oxide. 16.0 x 14.5 x 14.5, Stoneware, glaze, oxide.

Brief Biography 1935 born Toledo, Ohio. 1964 B.F.A. Bowling Green State University. M.F.A. Alfred University. 1968 Moved to Canada to teach at the School of Art, University of Manitoba. 1978 Studied in China, Korea, and Japan. 1981-82 Worked with Akio Takamori in the studio of Jun Kaneko in Higashinagura Aichi Prefecture. Currently living and working in Manitoba.

Exhibition History 1980 Robert Archambeau, Prime Gallery, Toronto, Ontario. 1982 “Two Man Show. Takamori-Archambeau,” Ogikubo Gallery, Tokyo, Japan. 1986 “Takamori-Archambeau.” Arvada Centre, Denver, Colorado. 1987 “Clay Today:The Inaugural Exhibition of the permanent collection,” Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection,” Burlington Art Centre. 1992 “Acquisition/Inquisition,” Burlington Art Centre. 1993 “Into the Corners:A Look at in-depth Collecting,” Burlington Art Centre. 1994 “The Archie Bray Foundation, Selected works.” Joanne Rapp Gallery, Scottsdale, Arizona. 1995 Prime Gallery, Toronto, Ontario. “East Asian and Canadian Ceramics” Royal Ontario Museum, Toronto, Ontario. 1996 “Useful Intentions,” Burlington Art Centre and Sheridan College, Ontario. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Robert Archambeau Vessels. Winnipeg Art Gallery, Winnipeg Manitoba. Robert Archambeau: Recent Work. Gloria Hickey, Contact, Calgary, Alberta. 1992.

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1993.

Handbuilt sculpture take-off of the Christian crucifix scene with a professional hockey player on the cross and two young fans looking up at him from the ground on either side.

Fire+Earth

Jeu (Game), 1985 Glace III (Ice III), 1985 Cygne (Swan), 1992 Collection of the Burlington Art Centre. Collection of the Canadian Clay and Glass Collection of the Artist Purchased through a grant from the Ministry Gallery. of Citizenship and Culture, Province of Ontario, Indusmin Collection on loan from Unimin 13.0 x 15.0, Stoneware, slab built, engobes, 1987. Canada Ltd. oxides, glazes

40.0 x 23.0 x 35.0, Eathenware, Slab Built, 47.0 x 54.0 x 40.0, Eathenware, Slab Built, engobes, oxides, glazes and sgraffito decora- engobes, oxides, glazes and sgraffito decoration tion

Pétrifié (Petrified), 1995 Nature Morte aux Quatre Tournesols Collection of the Artist. - d’Après van Gogh (Still Life with Four Sunflowers - After Van Gogh), 1996 16.0 x 18.0, Stoneware, slab built and coiling, , Collection of the Artist. oxides, glazes

20.0 x 29.0 x 5.0, Stoneware, hand built, oxides, glazes, china paint decoration

Brief Biography 1949 born Valcourt, Québec. 1969-72 Bachelor of Theatre Arts, University of Québec, Montréal. 1979-82 CEGEP du Vieux Montréal, Québec. B.F.A. Nova Scotia Collage of Art and Design, Halifax, Nova Scotia. 1986-99 Lived and worked in Amsterdam in the Netherlands. 1999 Returned to Montréal, Québec.

Exhibition History 1985 Mostra Delle Nazioni. Québec; Exhibitions Palace, Faenza, Italy. La Representation Humaine : 6 ceramists from Montréal; Interaction Gallery, Montréal Québec. 1986 “Tableaux: Edouard Jasmin and Loraine Basque”; Ontario Craft Council, Toronto, Ontario. 1987 “Clay Today: The Inaugural Exhibition of the permanent collection”; Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. 1999-00 “Traditions d’hier, expressions d’aujourd’hui”; Galerie Stewart Hall, Pointe-Claire, Montréal. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario. Exposition bénéfice des professeurs; Centre des arts visuels, Montréal. Exposition des professeurs; Centre des arts visuels, Montréal.

Publications Ontario Crafts, Edouard Jasmin and Loraine Basque. Diana Reitberger, summer, 1986. Vie des Arts Number 122 “ Sculpture ceramique: Pourquoi pas?” M. Perron, 1986.

Cup and Platter, 1986

Collection of the Burlington Art Center Purchased through a grant from the Ministry of Citizenship and Culture, Province of Ontario 9.5 x 16.0 x 16.0, Stoneware, lustre, oxide, glaze, wire.

Stylized cup with solid top, decorated with black diamonds on white with a black wire coil ring similar to the decoration on the base/platter it sits on; base has four feet, rough glaze on vertical edges - also used for sections of the handle and finial; outside of cup and parts of handle are lustred, resulting in dramatic reflecting patterns.

Fire+Earth

Cup and Saucer, 1983 Sculptural Cup, 1984 Bowl, 1986 Collection of the Burlington Art Centre. Collection of the Canadian Clay and Glass Collection of the Artist. Donated by Ann Cummings, 1999 Gallery. 6.5 x 19.0 x 19.0, Earthenware, underglaze, wire Indusmin Collection on loan from Unimin 12.4 x 11.4 x 9.0, Porcelain, glazes Canada Ltd.

8.0 x 16.5 x 16.5, White Earthenware, cast and constructed

Flower Cup, 1987 Collection of the Artist. Box, 1991 Collection of the Artist. 19.5 x 15.0 x 15.0, Earthenware, underglaze, glaze. 22.5 x 11.0 x 11.0, Earthenware, underglaze, glaze.

Brief Biography born Québec. 1976-79 Diploma (ceramics), CEGEP du Vieux Montréal, Québec. 1979-80 Alberta College of Art. 1983-84 Taught at the CEGEP du Vieux Montréal. 1990 Stopped working in ceramics.

Exhibition History 1984 “Tasses et Soucoupes”; Galerie Interaction, Montréal, Québec. 1985 “Non-Functional, Functional, and Wearable Art”; Galerie Barbara Silverberg, Montréal Québec. 1986 “Cups II” (group exhibition); Prime Gallery, Toronto, Ontario. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1992 “Ceramic Sculpture/Vessel”; Burlington Art Centre. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario.

John Ferguson, Hockey Hall of Fame Piece, 1975

Collection of the Burlington Art Centre. Donated by Dawn Johnston, 1992.

Trompe I’oeil locker room scene with Montreal Canadians’ hockey sweater hanging beneath a wooden corner shelf; a pair of hockey skates stand on the shelf; a hockey stick hangs on the wall.

Fire+Earth

Canadian Anthem T.V., C. 1972 Orr-Pawn, 1973 Untitled, c.1975 Collection of the Burlington Art Centre. Collection of the Burlington Art Center. Collection of the Burlington Art Center Donated by Dawn Johnston, 1992. Donated by Dawn Johnston, 1992. 21.5 x 24.0 x 24.0, Stoneware, glaze

23.0 x 33.2 x 19.0, Stoneware, slab built, glaze, 60.5 x 23.0 x 23.0, Stoneware, commercial photo emulsion and conventional photographic glaze developing

Teapot, 1984 Tray with Gallery, 1984 Collection of the Burlington Art Center. Collection of the Burlington Art Center.

16.3 x 22.4 x 14.7, Porcelain, wheel thrown, cela- 16.0 x 18.0 x 15.3, Porcelain, wheel thrown with don glaze additions, celadon glaze

Brief Biography 1963-64 Studied at the Kootenay School of Art, Nelson, British Columbia. 1964-67 Honours Diploma (ceramics), Alberta College of Art, Calgary, Alberta. 1986-88 M.F.A. York University, Toronto, Ontario. 1997 Excellence in Clay Award.

Exhibition History 1976 Forest City Gallery, London, Ontario. 1985 “Retrospective”; Forest City Gallery, London, Ontario. 1986 Forest City Gallery, London, Ontario. 1988 IDA Gallery, York University, North York, Ontario. 1990 “Mise en Scene” (group exhibition); Alliance Francaise, Toronto, Ontario. 1991 “Sevilus/Bellicosus”; Street Installation, Toronto, Ontario. 1993 “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre, Burlington, Ontario. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Open Air”; a public art event, London, Ontario. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Bowl, 1994

Collection of the Burlington Art Centre. Donated by Mr. Herbert O Bunt, 1995.

Bowl with small base, decorated on outside with panels of glaze, inside with heavily textured glaze-very rough encrustation; with custom made wooden box for storage.

Fire+Earth

Bronze Pot with Enamel Lines, 1983 Bottle, c. 1998 Mushroom Bowl, 1988 Collection of the Burlington Art Centre. Collection of the Burlington Art Center. Collection of the Burlington Art Center Donated by Mr. Herbert O. Bunt, 1986. Donated by Joan Bennett, 2000. Donated By Colleen Dullian, 1997.

6.0 x 39.0 x 38.8, Clay, bronze paint, glaze 15.6 x 12.3 x 8.1, Stoneware, glaze 15.2 x 25.2 x 12.0, Stoneware, hand built, multiple glazes, ceramic transfer

Old Black Lace, 2002 St. Patrick (Crossing the sea), 2002 Collection of the Artist. Collection of the Artist.

22.5 x 26.0 x 5.0, Clay, rolled and pressed 16.0 x 24.0 x 7.5, Clay, hand built and multi fired

Brief Biography 1940 born Gloucestershire, England. 1959-62 Received Art Training and Teaching Certificate in Art Education at Bath Academy of Art, Corsham, Wiltshire. 1968 Moved to Canada. Taught at both major Alberta Universities and the Alberta College of Art. Private studies in Japan (three occasions), Korea, Turkey, Iran, Greece, England.

Exhibition History 1986 “Restless Legacies” (group exhibition); Olympic Art Festival, Calgary, Alberta. 1992 “5th National Biennial of Ceramics” (juried exhibition); Trois Rivières, Québec (Prix D’Excellence). 1994 Harbinger Gallery, Waterloo, Ontario. 1996 “Terre en Transit: 7th National Biennial of Ceramics”; Trois Rivières, Québec (Prix D’Excellence). “White on White” (travelling exhibition); Canadian Clay & Glass Gallery, Waterloo, Ontario and The Canadian Embassy, Akasaka, Tokyo, Japan. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre, Burlington, Ontario. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. “Espace terre: 8th National Biennial of Ceramics” (juried exhibition); Trois-Rivières, Québec. 1999 “Céramique” (solo exhibition);Paul Kuhn Gallery, Calgary, Alberta “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. Exhibition for the recipients of the Governor General’s Award in Visual and Media Arts; Rideau Hall, Ottawa. “Voyage: 9th National Biennial of Ceramics” (juried exhibition); Trois- Rivières, Québec. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. “John Chalke, A Lifetime’s Acheivement” (travelling exhibi tion); Edmonton Art Gallery, Edmonton Alberta, touring 2001-2003. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario. “The 6th International Ceramics Competition”; Mino, Japan (Honourable Mention). “Contemporary Prairie Clay”; Art Gallery of Southwestern Manitoba, Brandon, Manitoba. “Ceramic Modernism: Lucie Rie, Hans Coper and Their Legacy”; The George R. Gardiner Museum of Ceramic Art, Toronto, Ontario.

Publications Ceramics: Art and Perception, 1996. Ceramic Review. July 1995 (also September 1994, March 1989, December 1988, November 1987 March 1982, February 1975). American Ceramics. Winter, 1993. Ceramic Monthly. December, 1992.

Snake Pot, 1992

Collection of the Burlington Art Centre. Donated by Mr. Herbert O Bunt, 1993.

31.0 x 50.0 x 50.0, Terra cotta, glaze smoke fired

Large round pot with narrow opening; snakes in relief, glazed with white crackle glaze; pot unglazed earthenware.

Fire+Earth

Another Science Experiment, 1995 Pneuma, 1998, 2000 Pneuma, 1998, 2000 Collection of the Artist Collection of the Artist Collection of the Artist

Size varies with installation, Paper clay, unfired, Size varies with installation, Paper clay, unfired, Size varies with installation, Paper clay, unfired, slide and video projection, light boxes slide and video projection, branches slide and video projection, branches

Beneath the Skin, 2001 Beneath the Skin, 2001 Collection of the Artist. Collection of the Artist.

Size varies with installation, Porcelain, fired to Size varies with installation, Porcelain, fired to cone 9, electric lighting, audio cone 9, electric lighting, audio

Brief Biography 1960 born Toronto, Ontario. 1994 M.F.A. University of Regina, Regina, Saskatchewan. 2000 Associate Professor, Department of Visual Art, University of Regina, Saskatchewan. 2001 Head, Department of Visual Art, University of Regina, Saskatchewan.

Exhibition History 1984-87 “Gallery Artists Group Shows”; Neo-Faber Gallery, Toronto, Ontario. 1990 “Fireworks 90”; FUSION: The Ontario Clay and Glass Association, Toronto, Ontario. “4th National Biennial of Ceramics”; Trois Rivières, Québec. 1991 “Ontario Crafts 91”; Chalmers Gallery, Ontario Craft Council, Toronto, Ontario. 1994 “Recent Acquisitions”; Burlington Art Centre, Burlington, Ontario. 1997 FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. “Pneuma”; Mendel Art Gallery, Saskatoon, Saskatchewan. 1999 “One Thousand Miles Apart”; Gallery 1.1.1, University of Manitoba, Winnipeg, Manitoba. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Pneuma” (solo installation); SAW Gallery, Ottawa, Ontario. “Changing Times”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. “Breathing Room” (two person exhibition with Karilee Fulgem); The Dunlop Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Giardino Segreto”; Estevan National Exhibition Centre, Estevan, Saskatchewan.

Garden Ruins, 1986

Collection of the Burlington Art Centre. Donated by the Artist, 1992.

Size varies with installation, white talc based clay, glaze

11 pieces of white pillar remains with green cabbages and flowering spin- ach growing out of them; an environmental statement.

Fire+Earth

Satchel, 1968 Moose Jaw Woman, 1974 Spring Pantry, 1982 Collection of the MacKenzie Art Gallery Collection of the Burlington art Center Collection of the Burlington Art Center. Gift of the Artist Donated by the Artist, 1998. Purchased through a grant from the Ministry od Citizenship and Culture, Province of Ontario, 27.5 x 29.3 x 17.8, Stoneware, leather 52.8 x 42.0 x 39.5, Low fire talc based clay, 1985. commercial glazes,wire, wooden base 186.0 x 108.5 x 55.0, Clay, glaze, wood, paint

Root Cellar, 1982 Garden Talk, 1987 MacKenzie Art Gallery, University of Regina Collection of the Burlington Art Center. Collection. Purchased through a generous donation from Purchased with special donations. Longo’s Fruit Market, Burlington, Ontario, and a grant from the Ministry of Culture and 213.5 x 60.5 x 152.5, clay, glaze, wood Communication, Ontario, 1987.

44.0 x 47.5 x 41.5, Earthenware, oxides, glaze

Brief Biography 1935 born Regina, Saskatchewan. 1964-67 B.Ed. University of Saskatchewan, Saskatoon, Saskatchewan. 1967 B.A. University of Saskatchewan, Regina, Saskatchewan. The Haystack Mountain School of Art, Deer Island, Maine. 1970 M.F.A. (sculpture) University of California, Davis, California.

Exhibition History 1983 “Cicansky”; Norman Mackenzie Art Gallery, Regina, Saskatchewan, National Tour Catalogue. 1986 “New Canadian Sculptural Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 1990 “The Object as Subject: Still Life Art” (group exhibition); Mendel Art Gallery, Saskatoon, Saskatchewan. The Drabinsky Gallery, Toronto, Ontario. “Cabbages and Kings,” Burlington Art Centre, Burlington, Ontario. 1993 “Into the Corners: A Look at in-Depth Collecting”; Burlington Art Centre. 1994 “Victor Cicansky: Gardening Way West of Toronto”; Mira Godard Gallery, Toronto, Ontario. 1997 “One Man Show”; Susan Whitney Gallery, Regina, Saskatchewan (also exhibited 1982, 84, 86, 88, 91, 93, 95, 96). FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. “A Question of Identity”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 2000 FIRE+EARTH: Contemporary Canadian Ceramics; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 FIRE+EARTH: Contemporary Canadian Ceramics; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications The Continental Clay Connection. Carol A. Phillips, 1980. Victor Cicansky: Clay Sculpture. Bruce W. Ferguson & Carol A. Phillips, 1983. Fired Sculpture. Illyas Pagonis, Art Gallery of Greater Victoria, 1974

Landscape Bowl, c. 1990

Collection of the Burlington Art Centre. Donated by Carlos Yep and Sylvia Lau, 1997.

24.2 x 59.4 x 48.5, Clay, paint, slips, stains

Bowl with one side higher than the other; mauve coloured outside and wide rim; inside hazy white background with dark cloudlike patches and one yellow sun-like spot.

Fire+Earth

Untitled, 1988 From Stone to Tree to Sky, 1990 Reflective Stones/Heath, 1990 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Herbert O. Bunt, 1995. Purchased through a grant from the Ministry Donated by Mr. Herbert O. Bunt, 1990. of Culture and Communications, Province of 37.5 x 23.4 x 22.5, Low fire talc based clay, Ontario, 1991. 21.5 x 63.0 x 46.0, Clay, stains, glaze, paint glaze 119.0 x 24.0 x 24.0, Clay, paper, slips, stains

The Cloud, 1990 Untitled (Totem), c. 1990 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by the Artist, 1993. Donated by Carlos Yep and Sylvia Lau, 1997.

65.0 x 41.0 x 8.0, Clay, Hand Built, stains, 75.0 x 21.0 x 17.0, Clay, glaze, oxides oxides, pigment, glaze

Brief Biography 1981-83 York University, Studied Fine Arts. 1984-87 Ontario College of Art, Toronto, Ontario (ceramics). Graduated as an Associate of the Ontario College of Art (A.O.C.A.) 1990 Banff Centre for the Arts, Banff, Alberta (Ceramic Program using mixed media). 1993 Further studies.

Exhibition History 1986 “Earthenworks”; Gallery 76, Toronto, Ontario. 1987 The Elmwood Club, Toronto, Ontario (group exhibition). 1990 The Other Gallery, Banff Centre for the Arts (group show). “Painted Stones/Reflective Vessels”; Ashton’s Gallery, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Phoenix, 1985

Collection of the Burlington Art Centre. Donated by E. A. Taylor, 1988.

46.5 x 43.0 x 35.0, Low fire talc based clay, glaze, lustre

In exhibition “Urn Funereal” at the Olga Corper Gallery in 1987; bird trying to escape from an enclosed cage with words stamped into side; “monotony is a cage” “boredom is a cage” “opposition to change is a cage”; birds head is seen on one side-parts of each wing on the other two, probably part of a tail on the fourth; work stands on four huge bird- like feet; cage appears to be wrapped tightly in wire at three levels.

Fire+Earth

Big Mac Attacks the Big Mac Attack Big Mac Meets Big Mac, 1977 Toasted Western, c. 1975 Attacker, 1978 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1987. Promised gift from Mr. Herbert O. Bunt, 1993. Donated by E. A. Taylor, 1988. 16.4 x 17.4 x 17.0 cm; 9.4 x 15.2 x 16.4, Low fire 19.0 x 23.0 x 23.3, Low fire talc based clay, com- 16.0 x 23.3 x 29.0, Low fire talc based clay, talc based clay, glaze, lustre mercial glazes glaze

Marble Cake II, 1977 Take Tea and See, 1980 Raspberry Jam, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by E. A. Taylor, 1988. Donated by Mr. Herbert O. Bunt, 1986. Promised gift from Mr. Herbert O. Bunt, 1993.

29.0 x 53.5 x 60.0, Canvas, plastic, acrylic 29.9 x 24.4 x 18.3 (teapot); 15.1 x 15.0 x 20.6 paint, stuffing (unknown) (sugar bowl); 16.1 x 16.2 x 16.4 (creamer), 13.0 x 28.0 x 28.0, Low fire talc based clay, Porcelain, hand built, glaze, lustre commercial glazes

Brief Biography 1939 born Detroit, Michigan. 1966 B.F.A. Wayne State University, Detroit, Michigan. 1968 M.A. Wayne State University. 1970 Moved to Canada. 1972-75 Sheridan School of Design, Port Credit, Ontario. 1973 Purdue University, West Lafayette, Indiana. 1984 Artist in residence, Harbourfront, Toronto, Ontario.

Exhibition History 1975 “More Clouds and More Clouds...”; Canadian Guild of Crafts Gallery, Toronto, Ontario. 1977 “Collins, Pachter, Tinkl”; Art Gallery of Ontario, Toronto, Ontario. 1984 “Uncommon Objects”; Harbourfront, Toronto, Ontario. 1987 “Um Funereal”; Olga Korper Gallery, Toronto, Ontario. 1988 “Consuming Passions”; Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1990 “Three Approaches to Clay: Collins, Ormut, Storey”; Grimsby Art Gallery, Grimsby, Ontario. 1993 “Dinner is Served”; Burlington Art Centre. “Animals in Clay”; Burlington Art Centre. “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre. 1994 “The Teapot Collection”; Burlington Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Craft Horizons Ceramics Monthly Tactile “Handmade in Ontario” Susan Himmel and Elaine Lambert, Van Nostrand Reinhold. Low Fire Ceramic Chris Taylor. Fired Sculpture, Illyas Pagonis, Art Gallery of Greater Victoria, 1974.

The Midas Touch, 1994

Collection of the Burlington Art Centre. Purchased through a grant from the Walter and Duncan Gordon Charitable Foundation, Toronto, Ontario, 1996.

55.9 x 22.3 x 25.7, Earthenware, hand cast, multiple glazes, lustre

Large piece of pink granite with a huge cabbage on top surmounted by a paint brush dipped in gold lustre, which is dripping down the cabbage onto the rock -made of hand-cast porcelain.

Fire+Earth

Hockey Skate, 1990 Four and Twenty Black Birds Trompe l’Oeil, 1997 Collection of the Artist Collection of the Artist Collection of the Artist

29.0 x 27.0 x 48.0, White Earthenware, Slip 39.0 x 19.0 x 7.0, White Earthenware, Slip cast 73.0 x 31.0 x 6.5, White Earthenware, slip cast Cast or press moulded, bisque fired to cone 04, or press moulded, bisque fired to cone 04, air- or press moulded, bisque fired to cone 04, air- airbrushed or hand painted colours, brushed or hand painted colours, commercial brushed or hand painted colours, commercial commercial underglaze, multi-fired to cone 06, underglaze, multi-fired to cone 06, lustres, underglaze, multi-fired to cone 06, lustres, lustres, glazes, acrylic sealant glazes, acrylic sealant glazes, acrylic sealant

Dragon Seed, 2000 Continuing Journey, 2001 Collection of the Artist. Collection of the Artist.

32.0 x 30.0 x 12.0, White Earthenware, slip cast 35.0 x 25.5 x 20.5, White Earthenware, slip or press moulded, bisque-fired to cone 04, air- cast or press moulded, bisque fired to cone 04, brushed or hand painted colours, commercial airbrushed or hand painted colours, commer- underglaze, multi-fired to cone 06, lustres, cial underglaze, multi-fired to cone 06, lustres, glazes, acrylic sealant glazes, acrylic sealant

Brief Biography 1955 born Winnipeg, Manitoba. 1974-78 University of Regina, Regina, Saskatchewan

Exhibition History 1990 “Contemporary Canadian Ceramics in Oslo”; Gallerie Franklin Silverstone at Kunst-Klubben, Oslo, Norway. 1992 “25th Anniversary Exhibition: Just a Taste of the Claridge Collection”; Saidye Bronfman Centre, Montréal, Québec. “A Treasury of Canadian Craft” Inaugural Exhibition; Canadian Craft Museum, Vancouver, British Columbia. 1994 “A Taste of the Claridge Collection”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1995 “Deuce of Hearts: The Art of James Doran & Karen Dahl”; Art Gallery of Southwestern Manitoba, Brandon, Manitoba. 1996 “Deuce of Hearts: The Art of James Doran & Karen Dahl”; Burlington Art Centre, Burlington, Ontario. “Recent Acquisitions”; Burlington Art Centre. 1997 “Recent Acquisitions 1996”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “A Question of Identity: Ceramics at the End of the Twentieth Century” in conjunction with the International Academy of Ceramics Conference; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1999 “Contemporary Manitoba Clay”; Site Gallery, Winnipeg, Manitoba. “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. Expo 2000, “Earth Works - Contemporary Canadian Ceramics”, with The George R. Gardiner Museum of Ceramic Art; Hanover, Germany. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Autoportrait: 10th National Biennial of Ceramics”; Trois-Rivières, Québec. “Contemporary Prairie Clay”; Art Gallery of Southwestern Manitoba, Brandon, Manitoba.

Publications Deuce of Hearts: The Art of James Doran and Karen Dahl, 1995. Profile: Karen Dahl and James Doran, Contact Magazine, Number 88, Spring Issue 1992.

Serie Pneumatique #16, 1986

Collection of the Burlington Art Centre. Purchased through a donation from Diana Hogarth Designs, 1991.

23.5 x 12.1 x 12.1, Porcelain, glaze

Strong design; lidded jar with tapered flange at shoulder; three flanges near base; all integrated with striped black and white glazing; finial royal blue.

Fire+Earth

Untitled Installation, 1996 Untitled Installation, 1999 Octet 1, 2000 Collection of the Artist Collection of the Artist Collection of the Artist from 127.0 x 190.0, Earthenware, wheel thrown from 51 to 132.0, Earthenware, wheel thrown 51 x 24.0, Earthenware, wheel thrown and and banded with engobes and banded with engobes banded with engobes

Quintuple 4 and Quintuple 3, 2000 Untitled Installation, 2001 Collection of the Artist. Collection of the Artist.

67.5 x 32.5; 42.5 x 11.0, Earthenware, wheel from 67 to 154.0, Earthenware, wheel thrown thrown and banded with engobes and banded with engobes

Brief Biography 1952 born Rimouski, Québec. 1973 Diplome D’Étude Professionelle (ceramics), College du Vieux Montréal, Montréal, Québec. 1974 Studio apprenticeship with Enid Legros, Gaspé Coast, Québec. 1981-82 Santa Monica City College

Exhibition History 1987 “An Anxious Society: Aggression in Art”; Burlington Art Centre, Burlington, Ontario. 1988 Garth Clark Gallery, Los Angeles, California. Gallery Koyanagi: Contemporary Arts, Tokyo, Japan. 1986-89 Galerie Barbara Silverberg, Montréal, Québec. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1990 “Clay Today: Contemporary Ceramists and Their Work” (group exhibition); Los Angeles County Museum of Art, Los Angeles, California. “Out of the Woods”; Burlington Art Centre. 1994 “The Collector’s Eye” (group exhibition); The Koffler Gallery, North York, Ontario. “Docent Curating Project”; Burlington Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications American Ceramics Collection of the Everson Museum of Art. Rizzoli, New York. “Roseline Delisle: Precise Porcelain”, American Crafts. June/July 1991. International Crafts. Themes and Hudson, London, 1992. Contact Magazine. Profile: Roseline Delisle, Paul Mathieu. Spring Issue, No.88, 1992. USA Today, Musée des Arts Decoratifs, Paris, France. Current Trends in Ceramics. The Aichi Prefectural Ceramic Museum, Japan, 1994.

Untitled, 1987

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communications, Province of Ontario, 1989.

30.25 x 27.0 x 24.0, Stoneware, hidasuki

Built from the starting point of a square-recessed foot, box body, with square opening in top; form altered by use of line, texture and decoration with oxides and glaze and fire.

Fire+Earth

Untitled Installation, 1966 Untitled, 1980 Octet 1, 2000 Collection of the Artist Collection of the Canadian Clay and Glass Private Collection, Montreal. Gallery. Indusmin Collection on loan from Unimin 21.0 x 26.0 x 26.0, Stoneware Canada Ltd. 69.0 x 37.0 x 37.0, Stoneware, slab built

38.0 x 16.5 x 18.0, Stoneware, hand built with wheel thrown neck, translucent crackle glaze

Untitled, 1989 Masque I, 1990 Private Collection, Ottawa. Private Collection, Montreal.

69.0 x 37.0 x 37.0, Stoneware, slab built 30.0 x 37.0 x 15.0, stoneware

Brief Biography Louise Doucet Saito 1938 born Québec. Studied Montréal, Québec. 1963 Worked in the studio of Gaetan Beaudin with Satoshi Saito. 1964 Met Tatsuzo Shimaoka.

Satoshi Saito 1935 born Tokyo, Japan. 1957-61 Keio University, Tokyo. 1961-64 McGill University, Montréal, Québec. 1963 Worked in the studio of Gaetan Beaudin with Louise Doucet. 1964 Met Tatsuzo Shimaoka. 1965 Satoshi Saito and Louise Doucet married and began to sign their work DOUCET-SAITO. 1965-67 Studied and researched Oriental ceramics in Japan with Tatsuzo Shimaoka, met Shoji Hamada, Seimei Tsuji, Kyo Tsuji and Shoji Kamoda. 1984 Doucet-Saito began to explore the sculptural possibilities of granite. 1990 Set artistic focus on granite sculpture. After 1983, DOUCET- SAITO began to concentrate exclusively on producing sculptures, some of which are quite monumental; such as “Alba”, 1998 Nagano Winter Olympics Commemorative Special Installation and “Allure”, The City of Osaka Award for the Best Urban Environmental Amenity, 2000.

Exhibition History 1982 Art Gallery at Harbourfront, Toronto, Ontario. 1985 “Doucet-Saito: Concepts in Clay”; Koffler Gallery, North York, Ontario. 1988 “Restless Legacies” (group exhibition); Olympic Art Festival, Calgary, Alberta. 1989 Inaugural exhibition; Museum of Civilization, Hull, Québec. 1990 “Doucet-Saito Retrospective 1963-90”; Sherbrooke Museum of Fine Arts, Sherbrooke, Québec. 1991 Ufundi Gallery, Ottawa, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Kaléidoscope”; Exhibition by Québec members of the Royal Canadian Academy of Arts, Québec, Québec. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “ARTS 2000”; Royal Canadian Academy of Arts, Stratford, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Doucet-Saito Concepts in Clay. Koffler Gallery, North York, Ontario, 1985. Doucet-Saito Retrospective 1963-90, Sherbrooke Museum of Fine Arts, Sherbrooke, Québec, 1990.

Large Bowl, 1987

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1987.

31.5 x 52.5 x 52.5, Earthenware, oxides, glaze

Hand built with coils, with figures on rim; decorated inside with scenes of cacti and houses viewed from one direction, and a circle of dogs running around viewed from another.

Fire+Earth

Cake Plate, 1990 Cat/Still Life Teapot, 1995 Self Portrait, 1996 Collection of the Artist. Collection of the Artist. Collection of the Artist.

12.5 x 32.5, Earthenware, majolica, acrylic paint dimensions unavailable, Earthenware, hand 202.5 x 21.25, Earthenware and mixed media built, acrylic surface

Portal, 1996 Untitled, 1996 Collection of the Artist. Collection of the Artist.

195.0 x 127.5, Earthenware and steel and stone 80.0 x 80.0 x 40.0, Earthenware, hand built

Brief Biography 1952 born in Canada. 1973 Ceramics Summer School, Sheridan College, Ontario. 1974 Special Arts Program, Central Technical School, Toronto, Ontario. 1976 B.F.A. Alfred University, Alfred, New York. 1989 B.Ed., O.T.C. University of Toronto, Toronto, Ontario. 1992 Honours Specialist Visual Arts, York University, North York, Ontario.

Exhibition History 1987 Dexterity Gallery, Toronto, Ontario. 1988 “Artists in Education”; University of Toronto, Toronto, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1990 “Image Narrative Dream”; Brampton Public Art Gallery, Brampton, Ontario. 1992 “Acquisition/Inquisition”; Burlington Art Centre. “Mask and Metaphor”; MacLaren Art Centre, Barrie, Ontario. 1993 “My House, Our House”; MacLaren Art Centre. “Taking it to the Streets”; MacLaren Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 Scotia Plaza, Gistex Inc., 100 Yonge St., Toronto, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “SMATTERINGS”; Penetanguishene Centennial Museum, Penetanguishene, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications The Ceramic Spectrum, 2nd edition, Robin Hopper, 2001. “Studio Partnerships”, Ontario Craft July 1996. “Nine Potters Of Simcoe County”, Fusion Magazine, vol. 18/No.1 winter 1994, 6-7 “ Archeological Dig Opens Doors In Artists Mind” GIG, issue 8 July 1993. “Making Connections Generating Feelings”, Contact Magazine Alberta, spring/ summer 1990. “Why Earthenware”, Ontario Potter, fall/winter 1980, 21.

Cow Giving Birth, 1971

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Citizenship and Culture, Province of Ontario, 1987.

13.0 x 18.5 x 28.5, Stoneware, glaze

Black and white cow lying on ground with head up bawling as it gives birth to a calf; realistic image.

Fire+Earth

Cow, 1978 Arneson and Bob, 1980 Vincent Draws a Crowd, 1982 Collection of the Canadian Clay and Glass MacKenzie Art Gallery, University of Regina Collection of the Burlington Art Centre. Gallery. Collection. Purchased through a grant from the Ministry of Indusmin Collection on loan from Unimin Purchased with the assistance of the Canada Culture and Communications, 1990. Canada Ltd. Council Art Bank. 60.5 x 50.5 x 28.0, Low fire talc based clay, acrylic paint 30.0 x 46.0 x 12.0, Earthenware, hand built, 65.0 x 64.0 x 38.0, Clay, wood, metal, plastic painted decoration

Potter, 1990 Antoinette, 1995 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of Claire Kramer. Purchased with the assistance of Judge Ken and Mrs. Carol Halvorson and the Canada 56.0 x 81.0 x 38.0, Bronze, patina Council Acquisition Assistance Program.

193.0 x 107.5 x 52.5, Bronze

Brief Biography 1942 born Ste. Marthe, Saskatchewan. 1966 B.F.A. University of Manitoba, Winnipeg, Manitoba. 1968 M.F.A. Pennsylvania State University. Exhibition History 1983 “Five from Saskatchewan” (group exhibition); Canada House, London, England. 1987 “Joe Fafard: Cows and Other Luminaries”; Dunlop Art Gallery, Regina, Saskatchewan. 1989 “Animals in Clay”; Burlington Art Centre, Burlington, Ontario. “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1991 “Pasture” (permanent installation); Toronto Dominion Bank Centre, Toronto, Ontario. 1992 “49th Parallel”; Gallery for Contemporary Canadian Art, New York, New York. 1995 “From the Domestic to the Majestic”; Susan Whitney Gallery, Regina, Saskatchewan. 1996 “Joe Fafard: The Bronze Years”; Montréal Museum of Fine Arts, Montréal, Québec. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. “Joe Fafard 20th Anniversary”; Douglas Udell Gallery, Edmonton, Alberta. Prairie Region Exhibition, The Royal Canadian Academy of Arts in conjunction with The Winnipeg Art Gallery, Winnipeg, Manitoba. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Joe Fafard: Bronze Tables and Drawings”; Mira Godard Gallery, Toronto, Ontario. “Joe Fafard: New Exhibition”; Trepanier Baer Gallery, Calgary, Alberta. “Joe Fafard”; Susan Whitney Gallery. “The Figure Show”; Mira Godard Gallery. Prairie Region Exhibition, The Royal Canadian Academy of Arts in conjunction with The McKenzie Art Gallery, Regina, Saskatchewan. 1999 “Joe Fafard: Artists and Animals”; Artists for Kids Gallery, Vancouver, British Columbia. “Joe Fafard: New Work”; Douglas Udell Gallery, Vancouver, British Columbia. “Spring Show ‘99”; Douglas Udell Gallery, Edmonton. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Joe Fafard” Susan Whitney Gallery. “Joe Fafard: Bronzes Big and Small” Mira Godard Gallery. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery. “Joe Fafard” Galerie de Bellefeuille, Montréal, Québec. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Joe Fafard: Valentina”; Douglas Udell Gallery, Vancouver and Edmonton. Publications Fired Sculpture. Illyas Pagonis, Art Gallery of Greater Victoria, 1974. The Continental Clay Connection. Norman Mackenzie Art Gallery, Regina, Saskatchewan, 1980. “Fafard, Joseph.” Marilyn Burnett, Canadian Encyclopedia. Hurtig Publishers Ltd, Edmonton, 1985. “Joe Fafard, Cow and Other Luminaries 1977-87,” Matthew Teitbaum, Peter White, Mendel Art Gallery, Saskatoon and Dunlop Art Gallery, Regina, 1987.

Frog Seducing a Rutabaga in an Overstuffed Armchair, 1974

Collection of the Burlington Art Center Donated by Mr. Herbert O. Bunt, 1994.

35.0 x 27.0 x 30.5, Low fire talc based clay, commercial glaze

Frog in blue jeans and a sleeveless shirt with a turnip on its knee in a stuffed rose-coloured armchair with wooden feet; made during the time Gilhooly was in Canada.

Fire+Earth

Mountie Frog on Pedestal, c.1972 Vegetation Goddess, 1972 Frogdigliani, c. 1975 Collection of the Burlington Art Centre. Collection of the Burlington Art Center Collection of the Burlington Art Centre. Donated by Patricia Rogal, 1989. Donated by Scott Barnim, 2000 Donated by Mr. Herbert O. Bunt, 1998.

5.2 x 10.0 x 4.2, Low fire talc based clay, com- 26.6 x 6.9 x 7.0 , Low fire talc based clay, hand 56.0 x 25.4 x 35.6, Low fire talc based clay, mercial glaze built, commercial glazes commercial glazes, wood

Frog on a Bagel, 1976 Soup Tureen, 1977 Chocolate Moose, 1977 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Joan Murray, 1999. Donated by Mr. Herbert O. Bunt, 1985. Donated by Mr. Herbert O. Bunt, 1994.

10.7 x 14.0 x 11.8, Low fire talc based clay, mixed 38.7 x 30.9 x 26.1, Clay, glaze, mixed media 23.0 x 10.0 x 13.0, Low fire talc based clay, com- media mercial glaze

Brief Biography 1943 born Auburn, California. 1965 B.A. University of California, Davis, California. 1967 M.A. University of California, Davis. 1967 Came to Canada. 1996 Set artist focus on plexiglass.

Exhibition History 1971-72 “Contemporary Ceramic Art”; Kyoto and Tokyo. 1971 “Whitney Sculpture Annual”; Whitney Museum of American Art, New York, New York. 1975 “Chairs”; Art Gallery of Ontario, Toronto, Ontario. 1978 Museum of Contemporary Crafts, New York, New York. 1979-80 Travelling Show; Nockle Art Gallery, University of Calgary, Calgary, Alberta. 1994 “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Regina Clay Contemporaries”; The MacKenzie Art Gallery, Regina, Saskatchewan. DeSaisset Museum, Santa Clara University, Santa Clara, California. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. Solo Exhibition; Hallie Ford Museum, Willamette University, Salem, Oregon. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. Nickle Arts Museum, University of Calgary, Calgary, Alberta. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Arts Canada. “With David Gilhooly in the Frog World”, Gary Michael Dault, Spring Issue 1972. Fired Sculpture. lllyas Pagonis, Art Gallery of Greater Victoria, 1974. “David Gilhooly’s Mythanthrophy” Dale McConathy Arts Canada, June 1975. The Continental Clay Connection. University of Regina, 1980. “David Gilhooly” Foreword by Kenneth Baker. John Natsoulas Press, 1992.

Teapot & Cups, c. 1975

Collection of the Burlington Art Centre. Donated by Mr. and Mrs. Jock McKay, 1987.

Teapot: 17.5 x 13.0 x 19.5; Cups: 5.0 x 7.4 x 7.4 , Porcelain, wheel thrown, glaze, commercial cane handle

Wood-fired set with pale glaze showing ash induced variations; meticu- lous design detail on rims and feet of cups, and successful balance of teapot with handle and spout.

Fire+Earth

Vase, 1954 Coffee Service with Ten Cups, c. 1970 Pitcher, c. 1970 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated in memory of the Artist by her daugh- Donated by Richard and Carole Capling, 1996. Donated by Merle E. Wherrett, 1996. ter, Lauren Renzetti, 1998. Coffee pot: 22.0 x 21.0 x 18.0; Cups and 15.2 x 13.6 x 13.6 , Stoneware, glaze 70.0 x 23.5 x 24.5, Stoneware, hand built, glaze Saucers: 7.7 x 10.0 x 9.5; Tray: 5.0 x 85.0 x 16.0, Stoneware, wheel thrown, incised, glaze, wood fired

Ashtray and Humidor, c. 1970 Teapot, c. 1975 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Haakon Bakken, 1989. Donated by Mary Munro, 1997.

Ashtray: 5.2 x 17.0 x 17.0; Humidor: 16.0 x 14.0 x 18.4 x 21.5 x 13.7, Porcelain, wheel thrown, glaze 14.0 , Porcelain, glaze, wood fired

Brief Biography 1931 born Brooklyn, New York. 1953 B.F.A. New York State College of Ceramics, Alfred University, Alfred, New York. 1955 M.F.A. Alfred University. 1967 Came to Canada. 1981 died Mississauga, Ontario.

Exhibition History 1973 “Ceramics International 1973” (Metal Award); University of Calgary, Calgary, Alberta. 1979 “Wood and Wood Fired” (joint exhibition with Donald L. McKinley); Ontario Craft Council, Toronto, Ontario. 37th Concorso Interzionale della Ceramica d’Arte; Faenza, Italy. 1987 “Ruth Gowdy McKinley: A legacy of Commitment”; Ontario Craft Council. 1993 “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre, Burlington, Ontario. 1994 “The Teapot Collection”; Burlington Art Centre. 1997 “Ruth Gowdy McKinley: Retrospective”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. Nickle Arts Museum, University of Calgary, Calgary, Alberta. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Studio Potter: “The Mask of This Fire,” Winter, 1974/1975. Ceramic Monthly, 1976. Ornaments & Surfaces on Ceramics. Hildegaard Storr-Britz, 1977. Ceramic Monthly. Ceramic Masters Canada, 1978. Ruth Gowdy McKinley: A Legacy of Commitment. Sue Jefferies, Ontario Craft, 1987.

Aphrodite Yawns III, 1964

Collection of the Burlington Art Center Donated by Carlos Yep and Sylvia Lau, 1997.

31.5 x 33.0 x 34.5, Red Stoneware, oxides

Unglazed thrown stoneware sphere with ragged edged vertical opening; edges rubbed with oxides are dark brown-black; mounted on steel plate.

Fire+Earth

Blossoming Phallus, c. 1963 Sign Post, 1963 Space Embrace, 1963-65 Collection of the Burlington Art Centre. Collection of the Burlington Art Center Collection of the Burlington Art Centre. Donated by Nora McCullough, 1994. Donated by Carlos Yep and Sylvia Lau, 1997. Donated by Mr. Lorne Howell, 1994.

86.5 x 23.5 x 23.5, Stoneware, wheel thrown 106.5 x 21.5 x 21.5, Stoneware, wheel thrown, 29.5 x 49.5 x 17.5, Stoneware, hand built, reduction fired oxides, reduction fired

Untitled (Totem), 1988 Aphrodite Yawns II, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by James and Doreen Wilson, 1988. Donated by Mr. Avrom Issacs, 1988

69.4 x 41.0 x 17.5, Stoneware, oxides, reduction 30.0 x 40.0 x 38.0 , Red Stoneware, oxides, fired Reduction Fired

Brief Biography 1933 born New York, New York. 1959 B.F.A. New York State College of Ceramics at Alfred University, Alfred, New York. 1960 M.F.A. Alfred University. Came to Canada. 1960-66 Head, Ceramic Department, Ontario College of Art, Toronto, Ontario. 1971-76 Assistant Professor, University of Western Ontario, London, Ontario.

Exhibition History 1965 “New Sculpture”; Isaacs Gallery, Toronto, Ontario. 1977 “Retrospective”; McLaughlin Art Gallery, Oshawa, Ontario. 1980 Drawing Show; A.C.T. Gallery, Toronto, Ontario. 1981 Arthur Handy Installation; Mercer-Union Art Gallery, Toronto, Ontario. 1985 “Arthur Handy Ceramic Sculpture 1962-65, and 1985”; Macdonald- Stewart Art Centre, Guelph, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Arthur Handy: Recent Work”; Burlington Art Centre. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Clay: Medium-Based Practices.” Dalhousie Art Gallery. Guelph, Ontario, Essays, Robert Fulford and Barrie Hale. “Arthur Handy Ceramic Sculpture 1962-65 and 1985,” Macdonald Stewart Art Centre, Guelph, Ontario. “Arthur Handy Retrospective,” London Art Gallery, Essay, Robert Fulford. “Arthur Handy’s New Sculpture,” Arts Canada, Barrie Hale, Spring 1972.

Untitled, 1983

Collection of the Burlington Art Center Purchased through a grant from the Ministry of Culture and Communications, Province of Ontario, 1991.

13.0 x 19.5 x 18.5, Coloured cast clays, sandblasted

Small semi-enclosed basin-like form -flat on one side- with emphasis on flat surface meeting round surface- major cracks with slip colours lightening towards the centre opening as it sinks into the pot; very early piece.

Fire+Earth

Bowl with Slits, 1972 Untitled (slip cast bowl), c. 1980 Mimbres, 1985 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Helen Beswick, 1999. Donated by Aaron Milrad, 1998. Purchased thorugh a grant from the Walter and Duncan Gordon Charitable Foundation and 18.2 x 27.5 x 28.0 , Porcelain, wheel thrown, 13.5 x 25.8 x 27.0, Porcelain, slip cast, oxides the Canada Council Art Bank Special Purchase, celadon glaze 1988.

32.0 x 114.0 x 31.0, Earthenware, raku clay, oxides

Untitled (cone form), c. 1985 Vessel, 1998 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Aaron Milrad, 1998. Donated by Joan Bennett, 2000.

44.2 x 35.0 x 44.5, Earthenware, incised, oxides 8.7 x 25.4 x 16.2 , Brown Stoneware, coloured slips oxides

Brief Biography 1957 born Toronto, Ontario. 1976-79 Honours Diploma (ceramics), Sheridan College School of Craft and Design, Mississauga, Ontario. 1979-80 B.F.A. Ceramics, Kansas City Art Institute, Kansas City, Missouri. 1983 M.F.A. Ceramics, New York State College of Ceramics, Alfred University, Alfred, New York. 1995 Judges Award, The 4th Ceramic International, Mino Japan. 1996 Saidye Bronfman Award for Excellence in Canadian Craft.

Exhibition History 1985 “Dragon Stone: Innovation in Clay - Ten International Artists”; The Art Gallery at Harbourfront, Toronto, Ontario. 1986 “Restless Legacies” (group exhibition); Olympic Art Festival, Calgary, Alberta. 1989 “Steven Heinemann: Objects of Sight”; Burlington Art Centre, Burlington, Ontario. 1993 “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre. 1995 “The 4th International Ceramics Competition”; Mino, Japan. “6th National Biennial of Ceramics”; Trois Rivières,Québec (Prix d’Excellence). 1996 “Transformation: Prix Saidye Bronfman, 1977-1996”; Canadian Museum of Civilization, Hull, Québec. 1997 “Four Bronfman Award Winners”; Prime Gallery, Toronto, Ontario. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. “Contemporary Clay: Master Teachers/Master Students”; The Fine Arts Center Galleries, Bowling Green State University, Bowling Green, Ohio. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Selected Works, 1989-1999”; York Quay Gallery II, Harbourfront Centre, Toronto, Ontario. Expo 2000, “Earth Works - Contemporary Canadian Ceramics”, with The George R. Gardiner Museum of Ceramic Art; Hanover, Germany. “Summer Exhibition”; Galerie Besson, London, England. “The Sixth Taiwan Golden Ceramics Awards”; Taipei, Taiwan. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. gallerymateria, Phoenix, Arizona. “Reunion: Wayne Higby and Graduates of Alfred U.”; The Clay Studio, Philadelphia, Pennsylvania. “Earth Works”; The George R. Gardiner Museum of Ceramic Art. 2002 FIRE+EARTH: Contemporary Canadian Ceramics; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Modernism and Beyond”; The George R. Gardiner Museum of Ceramic Art. “The Legacy of Innovation, A Tribute to Ken Ferguson”; Dolphin Gallery, Kansas City, Missouri.

Publications Dragon Stone, Innovation in Clay, Ten International Artists; The Art Gallery at Harbourfront, Toronto, Ontario, 1985. Ontario Craft. Steve Heinemann: Recent Ceramics (review), Spring 1989. “Steven Heinemann: Objects of Sight,” Anne West, Burlington Art Centre. Contact, Number 99, Feature Article, Wendy Walgate. Globe and Mail. “Turning Earth into Art,” May 22, 1996. Postmodern Ceramics, p 89-90, Mark Del Vecchio, 2001. Globe and Mail. “Steven Heinemann at York Quay Gallery, Harbourfront”, Gillian Mackay, February 26, 2000.

Footed Bowl, c. 1983

Collection of the Burlington Art Centre. Donated by Sharilyn Ingram & Wayne Morgan, 1996.

15.9 x 28.9 x 29.8, White Stoneware, slab built, white slip with cobalt wash

Slab built flat-sided and bottomed container; form altered by cutting away part of rim and pulling in top edge by pinching at one point; dark glaze inside; white outside with drawn decoration.

Fire+Earth

Venus Vase and Stand, 1986 King Piece, Cup and Shelf, 1987 A Protestant Thought, 1989 Collection of the Canadian Clay and Glass Collection of the Artist. Collection of the Artist. Gallery. Indusmin Collection on loan from Unimin 498.8 x 403.9 x 408.9, Commercial ceramic 50.0 x 37.5 x 25.0, White and red Earthenware, Canada Ltd. 2 commercially molded pieces, slip, glaze bowl, water, wood, paint, cloth, audio 39.0 x 30.0 x 25.0, Red Earthenware, wheel thrown, altered, slab built, commercial additions

Caught in a Dust Devil, 1995 Vase and Stand, Undated Collection of the Artist. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1987. 30.0 x 55.0 x 17.5, Wood, paint, glass, red tape, graphite, commercial ceramic cup, lead weights 38.0 x 20.0 x 27.4, Earthenware, glaze, oxides, decal

Brief Biography 1949 born Bridgewater, Nova Scotia. 1967-71 B.F.A. Art and Art Education, Nova Scotia College of Art and Design, Halifax, Nova Scotia. 1977-78 M.F.A. University of Regina, Regina, Saskatchewan. 1984 History, Criticism and Aesthetics (ceramics), Banff School of Fine Arts, Banff, Alberta. 1995- School Program Coordinator, Glenbow Museum, Calgary, Alberta. Forced to stop working in ceramics due to health concerns, he remains very active in art education as a museum educator, curator, writer and storyteller.

Exhibition History 1980 Dunlop Art Gallery, Regina, Saskatchewan. 1985 “SOUP SOUP Beautiful SOUP”; The Koffler Gallery, North York, Ontario (group exhibition). 1986 “New Canadian Sculptural Ceramics” (group exhibition); Art Gallery of Nova Scotia, Halifax, Nova Scotia. 1988 “Restless Legacies” (group exhibition); Olympic Art Festival, Calgary, Alberta. 1996 “Walter Ostrom - The Advocacy of Pottery”; Art Gallery of Nova Scotia. 1997 “Recent Acquisitions”; Burlington Art Centre, Burlington, Ontario. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Vase, 1977

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1984.

36.8 x 7.9 x 8.1, Porcelain, glaze

Thrown porcelain vase, straight-sided, wide shouldered, narrow necked; simple form complimented with clear celadon glaze.

Fire+Earth

Alberta Landscape, 1969 Holiday Coupe, 1971 Wood Fired Slab Vase, 1990 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Douglas and Joyce Meredith, 1998. Donated by Douglas and Joyce Meredith, 1998. Donated by Joan Murray, 1999.

220.5 x 112.0 x 8.0 , Stoneware, glaze, canvas, 41.5 x 16.0 x 12.5 , Stoneware, glazes, lustres 26.5 x 22.0 x 8.5 , Porcelain, slab built, wood paint fired

Daylily Vase, 1997 Green Apple Vase, 1998 Collection of the Art Gallery of Nova Scotia. Collection of the Burlington Art Centre. Purchased through a grant from the Walter and Purchase, 1997. Duncan Gordon Foundation, Toronto, Ontario, 2001. 36.0 x 22.5 x 22.5, Porcelain, wheel thrown 37.0 x 21.0 x 21.0 , Porcelain, wheel thrown and carved, celadon glaze

Brief Biography 1943 born Vancouver, British Columbia. 1964-69 Diploma of Fine Art, Alberta Collage of Art, Calgary Alberta. 1989 Saidye Bronfman Award for Excellence in Craft.

Exhibition History 1970 Osaka World’s Fair, Japan. 1985 “Ten Year Retrospective”; Agnes Etherington Art Gallery, Kingston, Ontario. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection” Burlington Art Centre. 1990 “20/20 Hindsight: A Harlan House Retrospective”; Koffler Art Gallery, North York, Ontario. 1992 “Out of the Woods”; Burlington Art Centre. 1995 MuJu International Exhibition; Seoul, Korea. 1996 “Transformation: Prix Saidye Bronfman, 1977-1996”; Canadian Museum of Civilization, Hull, Québec. 1997 “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. FIRE+EARTH: Contemporary Canadian Ceramics; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Toronto Collects”; The George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Looking Forward” (juried exhibition); Ontario Crafts Council, Toronto, Canada. “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. Alberta College of Art and Design 75th Anniversary Exhibition; Calgary, Alberta.

Publications Contemporary International Ceramics, Hildegard Storr-Britz, 1980. Ceramics Monthly, Portfolio, December, 1981. Ceramics Monthly, Woodfiring, February, 1984. Canadian Collector, January/February, 1987. 20/20 Hindsight, A Harlan House Retrospective, Gloria Hickey, 1990. “Canadian Ceramics in the Asian Traditions,” Raphael Yu, Rotunda-The Magazine of the Royal Ontario Museum, Summer 1996.

Teapot, 1987

Collection of the Burlington Art Centre. Donated by your friends at Ennis-Paiken Ltd. in appreciation of F. R. (Bob) Perry, 1989.

50.1 x 39.0 x 47.5 , Red Earthenware, slip, glaze

Large high teapot with small black spout, white finial and black handle, covered with cone-shaped lumps of clay, glazed half black half white.

Fire+Earth

Untitled, c. 1983-85 Box, c. 1990 Omoide/memory, 2000 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Artist. Donated by Mr. Herbert O. Bunt, 1989. Donated by Herbert O. Bunt, 1995.

71.0 x 23.0 x 23.0, Stoneware, glaze 51.0 x 19.9 x 28.0, Red Earthenware, white slip, size varies with installation., Clay, fired and red lead, glaze unfired, video projection, mixed media

Four Cups, Undated Untitled, Undated Collection of the Burlington Art Centre. Private Collection. Donated by Mr. Herbert O. Bunt, 1991.

19.0 x 17.0 x 13.0; 17.0 x 8.5 x 8.5; 16.0 x 11.5 x dimensions unavailable, Earthenware 11.5, Clay, grog, slip, glaze

Brief Biography 1951 born Kyoto, Japan. 1981-85 Emily Carr Institute of Art and Design, Vancouver, British Columbia. 1985-87 M.F.A. Cranbrook Academy of Art, Bloomfield Hills, Michigan.

Exhibition History 1987 Dexterity Gallery, Toronto, Ontario. 1988 “Uncommon Objects”; York Quay Centre, Toronto, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. “Sadashi Inuzuka: Bug Dream” Summer Courtyard Installation; Burlington Art Centre. 1990 “Bug Dream”; Joseph D. Carrier Art Gallery, North York, Ontario. 1991 “Abstract Sculpture/Vessel”; Burlington Art Centre. “Hana”; Art Gallery of Mississauga, Mississauga, Ontario. 1994 “The Teapot Collection”; Burlington Art Centre. “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre. 1995 “Nature of Things”; Richmond Art Gallery, Richmond, British Columbia. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Sadashi Inuzuka Bug Dream. Burlington Art Centre. Sadashi Inuzuka Bug Dream. 1990 Joseph D.Carrier Art Gallery, North York, Ontario. Nature of Things, Sadashi Inuzuka. Richmond Art Gallery, Richmond, British Columbia.

Vase, Undated

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1987.

19.2 x 25.6 x 30.5, Earthenware, oxides, lustre

Take off on Royal Doulton perfect flowers - so removed from the real thing, and showing no trace of the creative hand - roughly made flowers made from clay that may have had manganese wedged into it a la Hans Copper/manganese oxide washed over it before firing.

Fire+Earth

Creamer, c. 1967 Vase with Flowers, c. 1970 Untitled, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Artist. Donated by Mr. Glen E. Cumming, 1994. Donated by Mr. Herbert O. Bunt, 1994. dimensions unavailable, paint 7. 3 x 10.5 x 6.6, Stoneware, wheel thrown, 28.0 x 28.0 x 24.0, flowers (Ann James) clay, altered, glazes hand built; vase (Jack Sures) clay, wheel thrown

Untitled, Undated Untitled, Undated Collection of the Artist. Collection of the Artist. dimensions unavailable, clay dimensions unavailable, clay

Brief Biography 1927 born Hove, Sussex, England. Brighton School of Art, Brighton, England. University of Saskatchewan, Saskatoon, Saskatchewan

Exhibition History 1969 Osaka ‘70; Osaka, Japan. 1972 Canada House, London, England. 1973 “Canada Trajectoirées”; Musée d’Art Moderne de la Ville de Paris, Paris, France. 1978 “The Saskatchewan Arts Board Collection”; Norman Mackenzie Art Gallery, Regina, Saskatchewan. 1988 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications The Continental Clay Collection. Carol A.Phillips. Fired Sculpture. Illyas Pagonis, Art Gallery of Greater Victoria.

Jogging en Forêt, 1981

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1986.

6.25 x 28.5 x 21.5, Local Red Earthenware, press molded with hand formed additions, glaze, multiple firings

Plaque for hanging on a wall; joggers running through a woods on snow- shoes with bright red jackets and blue pants; scene built up three-dimen- sionally to give great depth to the picture - joggers coming through the forest from the left back top; moving down the plate to turn and run back across the bottom edge to the left; “Jogging En Foret” printed in lower rim.

Fire+Earth

Remembrance D’un Jour De L’an, 1980 Le Musée, c. 1975 L’Affuteur de Couteaux (The Knife Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Sharpener), Undated Donated by Mr. Herbert O. Bunt, 1996. Donated by Mr. Herbert O. Bunt, 1996. Collection of the Burlington Art Centre. Donated by Herbert O. Bunt, 1997. 7.9 x 28.7 x 23.2, Red Earthenware, glaze 6.4 x 27.9 x 21.7, Local Red Earthenware, press molded with hand formed additions, glaze, mul- 30.0 x 60.0, Sand, glue, pigment on a wooden tiple firings base

Jour de la Rentrée des élèves pensionnaires Le Tombeau Vide, Undated Bibliograph, Undated en 1913, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Herbert O. Bunt, 1997. Donated by Herbert O. Bunt, 1997. Donated by Herbert O. Bunt, 1997. 20.5 x 12.0 x 12.0, Local Red Earthenware, press 29.0 x 14.5 x 14.5, Local Red Earthenware, press 12.5 x 23.5 x 10.5, Local Red Earthenware, hand molded with hand formed additions, glaze, mul- molded with hand formed additions, glaze, mul- formed, glaze, multiple firings tiple firings tiple firings

Brief Biography 1905 born Saint-Laurent, Québec. 1933-43 Ouverture du commerce dans le sous-sol de la rue Saint-Denis. 1953 Participation à la Place des Artistes 1956 Fermeture définitive du restaurant et divers emplois. Premiers essais au sable. c. 1968-73 Premiers essais de céramique. 1975 First solo exhibition of ceramic works 1976 Retired from the Parks Service at the age of 71. 1987 Died Montréal, Québec. He started working in clay when one of his neighbours found a deposit of local red earthenware while digging a new basement. Self taught, he was (at the time) the only known Canadian folk artist working in clay.

Exhibition History 1975 “La Petite Patrie d’édouard Jasmin”; Galerie Crea (Centrale d’artisant du Québec) Montréal, Québec. 1980 “édouard Jasmin”; Prime Canadian Crafts, Toronto, Ontario. 1983 “édouard Jasmin Folk Artist-Patenteux”; Prime Canadian Crafts. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1991 “édouard Jasmin”; Garth Clark Gallery, New York. “édouard Jasmin, Céramiste”; Musée d’Art de Saint-Laurent, Saint- Laurent, Québec. 1993 “Artists and Language” (group exhibition); The Society for Contemporary Crafts, Pittsburgh, Pennsylvania. 1997 “Recent Acquisitions 1996”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Clay at Hand/Attitudes in Canadian Ceramics,” Diana Reitberger, The Studio Potter Volume 11, Number 2. “Edouard Jasmin, Ceramiste Inventif” France Gilbert, Vie des Arts, September 1985. SOUP, SOUP, Beautiful SOUP. Koffler Gallery, North York, Ontario. Edouard Jasmin, Ceramiste. Pascal Galipeau, Musée d’Art de Saint-Laurent, 1991.

Chasing the Moon, 1991

Collection of the Burlington Art Centre. Donated by Carlos Yep and Sylvia Lau, 1997.

57.4 x 61.0 x 59.7, Low fire talc based clay, hand built, commercial glazes, paint

Female nude on stomach with legs lifted behind and arms lifted in front holding the moon over her head as she looks up at it; hair streaming out in all directions; glazed in dark blue with gold patches; gold hair; moon royal blue with gold.

Fire+Earth

Duet, 1989 Untitled, 1991 Born With, 1991 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Purchased through a grant from the Ministry Donated by Mr. Herbert O. Bunt, 1994. Donated by Gail Crawford, 2000. of Culture and Communications, Province of Ontario, 1990. 33.1 x 49.5 x 35.5, White talc based clay, hand 20.0 x 41.0 x 43.0 , Low fire talc based clay, built, commercial glazes glaze, paint 58.0 x 59.0 x 41.0, Earthenware, oxides, glaze

Dinner Table, 1993 Wrong Fall, Undated Collection of the Burlington Art Centre. Collection of the Artist. Purchased thorugh a donation from The Pioneer Group Inc., 1995. 147.5 x 75.0 x 62.5, Clay, glazed

53.7 x 66.1 x 49.0, Low fire talc based clay, hand built, commercial glazes

Brief Biography born Seoul, Korea. 1982-86 B.F.A. Concordia University, Montréal, Québec. 1986-87 Graduate Studies in Ceramics, University of Ohio, Athens, Ohio. 1987-89 M.F.A. Louisiana State University, Baton Rouge, Louisiana.

Exhibition History 1992 “Pregnant Goddess”; Ashton’s Gallery, Toronto, Ontario. 1993 “Sunmi Jung: A Room of One’s Own”; Mississauga Civic Art Gallery, Mississauga, Ontario. “Ontario Craft ‘91” (group exhibition); Ontario Craft Council, Toronto, Ontario. 1995 “Sunmi Jung - New York” Summer Courtyard Installation; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Women’s Voice”; Columbus Art Centre, Toronto, Ontario. “Image”; Ukrainian Art Gallery, Toronto, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “East meets West”; Neilson Art Center, Toronto, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “New members 2002”; Canadian Sculpture Center, Toronto, Ontario.

Publications “A Room of One’s Own.” Stuart Reid, Mississaga Civic Art Gallery, Mississaga, Ontario, 1993. “Sunmi Jung:Courtyard installation,” Fusion Magazine, Autumn 1995.

Untitled, c. 1970

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1997.

16.5 x 12.2 x 14.0, Red Earthenware

Roughly modelled parent figure with a gaunt face but with an alert ready-for-action look; infant peeking over shoulder with a big smile; very expressive though simple form.

Fire+Earth

Ceramic Vessel with Figures, c. 1970 Bust, c. 1970 Standing Man, 1982 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of Norman Zepp and Judith Varga Gift of Norman Zepp and Judith Varga Gift of Norman Zepp and Judith Varga

16.0 x 14.5 x 14.5, Clay 16.2 x 8.0 x 9.7, Stone 9.8 x 2.4 x 6.3, Stone

Figure, 1982 Woman, 1985 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of Norman Zepp and Judith Varga Gift of Norman Zepp and Judith Varga

8.3 x 5.9 x 7.3, Stone 8.9 x 3.4 x 4.6, Stone

Brief Biography 1897 born in Gjoa Haven (Uqsuqtuuq), Nunavut. Lived as a hunter and fisherman. 1958 Moved to the Keewatin community of Baker Lake (Qamani’tuaq), Nunavut. 1959 Moved to Rankin Inlet, Nunavut, where he worked, briefly, in the newly opened nickel mine. Self taught as an artist, he was a carver, painter, drawer and ceramist. 1960 Began carving stone. Experimented with ceramics at the Rankin Inlet ceramics studio, which existed from 1965 to 1973. 1993 died

Exhibition History 1983-85 “Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art”; Art Gallery of Ontario, Toronto, Ontario. 1986 “Keewatin Eskimo Ceramic ‘67”; Department of Indian Affairs and Northern Development, Ottawa, Ontario. “Sculptures by John Kavik”; The Guild Shop, Toronto, Ontario. “John Kavik of Rankin Inlet”; Inuit Gallery of Eskimo Art, Toronto, Ontario. 1990 “John Kavik”; Inuit Gallery of Vancouver, Vancouver, British Columbia. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art. Jean Blodgett, Art Gallery of Ontario, Toronto, Ontario, 1983. Indian/lnuit Pottery. Department of Indian Affairs and Northern Development, Ottawa. “Kavik, John: The Canadian Encyclopedia,” George Swinton, John H. Marsh Editor, Hurtig Publishers, Edmonton, Alberta. “Memories of John Kavik 1897-1993.” Norman Zepp, Inuit Quarterly, Volume 8, No.3, Fall 1993.

Untitled, c. 1970

Collection of the Burlington Art Centre. Donated by Patricia Rogal, 1995.

3.4 x 6.3 x 6.3, Porcelain, cast, slip trailed, tooled, brushed blue watercolour under blue celadon glaze, reduction fired

Tiny round lidded container; decoration of flowers in relief on lid with painted details given relief outlines, soft colours, subtle presentation of image.

Fire+Earth

Wist Box, “Wings like after . . . and erin Rock Box, “Coupes pluviales sur glace . . . The Choir . . . Le choeur de chant, 1995-96 and wists and things . . . Souhaits de ma rain cups on the rocks”, 1981 Collection of the Burlington Art Centre. fille”, 1981 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. 18.0 x 9.0 x 9.0, Translucent Porcelain bisque, 9.4 x 5.1 x 5.5, Porcelain, cast, slip trailed, reduction fired to cone 13; Bells: cast, tooled, 10.0 x 9.9 x 7.8, Porcelain, cast, slip trailed, brushed, appliques, blue watercolour under brushed; Birds and clappers: sculpted, brushed, brushed, appliques, blue watercolour under reduced copper glaze terra sigilatta reduced copper glaze

Pair of Stump Vases, “Tree Spirits . . . Wave, 2002 Genies des bois”, 1996 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. 17.8 x 24.0 x 17.5, Paper clay, paint, slab pressed 9.3 x 7.5 x 7.8; 8.7 x 7.0 x 6.7, Translucent into mold, carved, fired: sprayed, polished Porcelain bisque, cast, carved, tooled, brushed, reduction fired to cone 13

Brief Biography 1943 born Gaspé Peninsula, Québec. 1961-64 école des Beaux Arts, Montréal, Québec. 1964-66 Institute des Arts Appliques, Montréal, Québec. 1966-69 Studio of Frangine Delpierre, Paris, France. 1997-01 Accompanied her husband on a circumnavigation of the globe, by sail.

Exhibition History 1993 “Celebratory Bowl” (group exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario. 1994 “Containment: The Space Within”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1995 “Enid Legros-Wise”; Musée Acadien du Québec a Bonaventure, Bonaventure, Québec. 1996 “The World of Enid Legros-Wise”; Musée de la Gaspesie, Gaspe, Québec. 1996 “Recent Acquisitions ‘95”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Tea Party Three”; Prime Gallery, Toronto, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Circumnavigation” (solo exhibition); Burlington Art Centre.

Publications “The Craftsman’s Way,” Hart Massey and John Flanders, 1981. “Gaspesie, Visage et Paysages,” Jules Belanger, 1984. “Ceramic Spectrum,” Robin Hooper, 1984. “Containment: The Space Within.” Canadian Clay and Glass Gallery, Waterloo, Ontario, 1994.

Two Tone Bag, 1979-80

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Citizenship and Culture, Province of Ontario, 1987.

19.3 x 17.2 x 8.3, Stoneware, oxides, lustre

Leather bag made of earthenware clay, complete with top-stitching on leather trim and handle, and metal hasp.

Fire+Earth

Four Tumblers, 1967 Untitled, 1969 John’s Mountie Boots, 1973 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. MacKenzie Art Gallery, University of Regina Donated by Mr. Glen E. Cumming, 1994. Donated by Mr. Herbert O. Bunt, 1987. Collection.

11.0 x 10.0 x 10.0 (each), Clay, wheel thrown 3.5 x 35.5 x 24.0, Stoneware, fibreglass clay 16.2 x 33.6 x 33.2, Clay and mixed media rolled out on Barnard clay, slab built, wheel thrown additions

Drawstring Bag, 1988 Johan’s Jacket, 1990 Collection of the Canadian Clay and Glass Collection of the Artist. Gallery. Donated by Winifred Shantz 90.0 x 51.8 x 17.6, Clay, hand built, zipper

18.0 x 18.0 x 16.0, Clay slabs, hand assembled, brown engobe, pierced for stitching and holes

Brief Biography 1935 born Medicine Hat, Alberta. 1957 B.Sc (chemistry), University of Alberta, Edmonton, Alberta. 1959 M.Sc. (chemistry), University of Alberta. 1961-69 University of Regina, School of Art, Regina, Saskatchewan, (part time). 1970 M.A University of California, Berkeley, California. 1971 M.F.A. Sculpture, University of California, Berkeley, California.

Exhibition History 1971 University of Calgary, Calgary, Alberta. 1974 Norman Mackenzie Art Gallery, Regina, Saskatchewan. 1981 Institute of Contemporary Art, Boston, Massachusetts. 1981 Galerie Alain Blondel, Paris, France. 1991 “Marilyn Levine: Jackets”; O.K.Harris Works of Art, New York, New York. 1996 Huntington Museum of Fine Arts, Huntington, West Virginia. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Marilyn Levine: A Retrospective” (travelling exhibition); MacKenzie Art Gallery, Regina, Saskatchewan. 1999 “Marilyn Levine: A Retrospective”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications The Ceramics of Marilyn Levine. Susan Peterson, Craft Horizons, Volume 37, Number 1, February 1977. Ceramic Art Comment and Review. Garth Clark, Editor. E.P. Dutton, 1978. Art of the Seventies. Edward Lucie-Smith. Cornell University Press, 1980. Clay Today, Contemporary Ceramists and Their Work. Los Angeles. Country Museum of Art Martha Drexler Lynn, Chronicle Books, 1990. The Book of Cups. Garth Clark, Abbeville Press, 1990. American Realists. Edward Lucie-Smith, Harry N. Abrams, 1994. “Ideas and lnspiration: Contemporary Canadian Art,” CD-ROM, Heartland Motion Picture Inc. and Pebble Beach Interactive, Regina, Saskatchewan, 1997.

Growth, 1993

Collection of the Burlington Art Centre. Donated by Karen Brouwers, 1994.

Size varies with installation., Low fire talc based clay, oxides

7 pieces shaped like large white walnuts, with deep holes impressed with a pencil-sized instrument; heavy texture with rim around the middle; 5 pieces shaped like potatoes, with larger impressions each with a white piece of clay impressed with the same pencil-like instrument; placed in separate groupings.

Fire+Earth

Two Vessels, c. 1985 Farm Series: Peas, 2000 Farm Series: Potatoes/Carrots, 2000 Collection of the Burlington Art Centre. Collection of the Artist. Collection of the Artist. Donated by Leslie Bullock and John Vice, 1998. Size varies with installation., Low fire white Size varies with installation., Local Earthenware 11.2 x 10.6 x 7.0; 12.0 x 10.6 x 7.0, Earthenware, Earthenware with terra sigillata and stains/Low fire clay smoke fired and wire basket, found materials from Aurora, Nebraska

Requiem for a Butterfly, 2000 Corn, 2001 Collection of the Artist. Collection of the Artist.

Size varies with installation., Earthenware, Size varies with installation., Stoneware, carved smoke fired, mixed media, grinding stone and impressed, terra sigillata, mixed media, found object

Brief Biography 1939 born San Bernadino,California. 1961 B.A. University of California, Berkeley, California. 1966 M.A. Stanford University, Stanford, California. 1967 Emigrated to Canada. 1968 McMaster University, Hamilton, Ontario (ceramics with Jack Herman). 1975 Sheridan School of Design, Ontario (primitive firing with Hal Riegger). 1979 Studied with Ruth Duckworth, Big Creek, California (ceramic sculpture).

Exhibition History 1980 “Clay: Forms, Surfaces”; Art Gallery of Hamilton, Hamilton, Ontario. 1987 “Large Format Works in Clay”; Burlington Art centre, Burlington, Ontario. 1990 “New Wood Fired Work”; Ashton’s Gallery, Toronto, Ontario. 1992 “Porcelain Sound Sculpture”; University of Waterloo, Waterloo, Ontario. 1994 “Common Ground, Still Moves: Collaborative Installation and Performance”; Burlington Art Centre. “Containment: The Space Within”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1995 “Recent Acquisitions”; Burlington Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Fireworks 2000”; invitational exhibition organised by FUSION: The Ontario Clay and Glass Association, Toronto, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “FARM” (theme-genetically altered produce, solo installation); Thunder Bay Art Gallery, Thunder Bay, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “FARM” (solo exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario.

Publications Craftsman. Special Issue on Clay and Glass, Ontario Craft Council, Vol.5, No.4, December 1980. Containment: The Space Within. Canadian Clay and Glass Gallery, Waterloo, Ontario, 1994.

White Fish, 1993

Collection of the Burlington Art Centre. Donated by Bill and Louise Cooke, 1997.

9.0 x 84.5 x 39.0, Earthenware, slab built, glazes

Long platter with fish on it, extending over each end; very linear treat- ment emphasized by black/blue and white drawn decoration; detail of fish has back bone drawn on side with scales and fins.

Fire+Earth

Large Vessel, c. 1981 Skull Vase, c. 1985 Totem, 1990 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1986. Donated by Mr. Herbert O. Bunt, 1994. Donated by the Artist, 1993.

41.3 x 39.2 x 34.5, Porcelain, glaze 71.0 x 44.2 x 23.5, Stoneware, wheel thrown 130.0 x 69.0 x 62.0, Earthenware, coil built, and hand built, glaze oxide, glaze

Eel, 1998-2002 Dodo 1, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Commissioned with funds from The Walter and Duncan Gordon Foundation and the Royal Donated by Mr. Herbert O. Bunt, 1984. Academy of the Arts Trust Fund, 2002. 38.4 x 30.8 x 55.4, Stoneware, glaze dimensions unavailable, Earthenware, slip cast, paint

Brief Biography 1950 born Stockton, California. 1969-70 Wayne State University, Detroit, Michigan. Academic Studies in Cooperation with the Centre for Creative Studies. 1969-71 Centre for Creative Studies, Detroit, Michigan (ceramics and graphic arts). 1972 Paris School of Fine Arts, Paris, France (printing and drawing). 1973 Ontario College of Art, Toronto, Ontario (ceramics). 1974 Sheridan College School of Design, Mississauga, Ontario (ceramics).

Exhibition History 1987 “Large Format Works in Clay”; Burlington Art Centre, Burlington, Ontario. 1990 “One Person Exhibition”; Ashton’s Gallery, Toronto, Ontario. 1991 “Big Bacon II” Summer Courtyard Installation; Burlington Art Centre. 1992 “Big Bacon II”; Durham Art Gallery, Durham, Ontario. 1993 The Other Gallery, Banff Centre for the Arts, Banff, Alberta. 1994 “6th National Biennial of Ceramics”; Trois-Rivières, Québec (Honourable Mention). 1996 “The Fish Show”; Tom Thomson Memorial Art Gallery, Owen Sound, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “EEL” (solo installation); Tom Thomson Memorial Art Gallery. 1999 “EEL”, permanent installation; Burlington Art Centre. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “A Fine Line”; Art Gallery of Mississauga, Mississauga, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Swarm, Insects in Contemporary Art”; Tom Thomson Memorial Art Gallery.

Landscape of Hysteria, 1987

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communication, Province of Ontario, 1988.

40.0 x 59.0 x 33.0 (head); 68.3 x 51.0 x 33.0 (landscape), Earthenware, encaustic

Large sculpture of head and torso of a man with a shirt and tie on; in the background an explosion of breasts-white on a black form.

Fire+Earth

He Will Tell You He Knows Nothing, 1988 Bird House, 1991 Mutable Selves II, 1994 Collection of the Burlington Art Centre. Collection of the Canadian Clay and Glass Collection of the Burlington Art Centre. Donated by the Artist, Toronto, Ontario, 1999. Gallery. Donated by the Artist, Toronto, Ontario, 1999. Indusmin Collection on loan from Unimin 76.5 x 42.0 x 23.5 , Clay, encaustic Canada Ltd. 102.0 x 64.0 x 17.5, Clay, laser cut steel, oxides

30.0 x 30.0 x 8.0, Low fire clay, slab built, incised, polychrome underglaze, Raku fired

Body #18, 1996-97 Rocksbreath II, c. 2002 Private Collection. Collection of the Artist.

37.0 x 40.0 x 10.0, Clay, hand built, terra sigi- Size varies with installation., Clay latta

Brief Biography Born Montréal, Québec. 1965 B.F.A. Mount Allison University, Saskville, New Brunswick. 1967 M.F.A. Cranbrook Acedemy of Art, Detroit, Michigan.

Exhibition History 1987 4th International Ceramics Symposium, Toronto, Ontario. “An Anxious Society: Aggression in Art”; Burlington Art Centre, Burlington, Ontario. 1988 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. “Narratives” (travelling exhibition); Art Gallery of Northumberland, Coburg, Ontario. Galerie Barbara Silverberg, Montréal, Québec. 1989 Prime Gallery, Toronto, Ontario. 1991 Gallery Lynda Greenberg, Toronto, Ontario. 1992 “5th National Biennial of Ceramics”; Trois Rivières, Québec. “Still Dances”; Ontario Craft Council, Toronto, Ontario. 1995 “Survivors, In Search of a Voice: The Art of Courage” (travelling group exhibition); Royal Ontario Museum, Toronto, Ontario. 1996 “Susan Low-Beer: Recent Sculpture”; Prime Gallery. 1997 “Figures: Function or Not”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Espace terre: 8th National Biennial of Ceramics”; Trois-Rivières, Quebéc. 1999 “Toronto Collects”; The George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Drawing on the Figure: 10 contemporary ceramists approach the human form”; Canadian Clay and Glass Gallery, Waterloo, Ontario. “Looking Forward, New Views of the Craft Object” (travelling exhibition); Ontario Craft Council, Toronto, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Rocksbreath” Summer Courtyard Installation; Burlington Art Centre. “Excellence: Saidye Bronfman Award Recipients 1997-2001”; Museum of Civilisation, Hull, Québec. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Rocksbreath II, an Improvisation” (solo installation); Canadian Clay and Glass Gallery, Waterloo, Ontario.

Publications Still Dances. Recent Ceramic Sculptures by Susan Low-Beer. Ontario Craft Council 1992. American Ceramics. (Volume 10, Number 3) 1993. Ceramic Art & Perception. (Number 17) 1994. Ceramics Monthly. November, 1994. Survivors, In Search of a Voice: The Art of Courage, 1995.

Untitled, c. 1970

Collection of the Burlington Art Centre. Donated by Alice and Bernard Slavin, 1995.

38.8 x 30.0 x 31.2, Mixed Stoneware clay, Porcelain insets, glaze

Elaborately textured dragon-like figure sitting on a rock with a toothy grin, reminding one of Pierre Trudeau; scaly barnacled lizard-like skin, bright blue eyes.

Fire+Earth

Whistle, c. 1978 Barnacle Vase, c. 1980-85 Fat Tibb with His Lady Friend, c. 1985 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Alice Peck Slavin, 1993. A gift from Ashton’s, 1991. Donated by Alice Peck Slavin, 1993.

8.5 x 6.5 x 5.0 , Stoneware with Porcelain 17.8 x 27.5 x 28.0 , Porcelain, wheel thrown and 10.0 x 12.0 x 8.0 , Red Earthenware, oxide insets, glaze carved, glaze

Baby Satyr, c. 1988 Listening Woman, 1993-2000 Collection of the Burlington Art Centre. Collection of the Artist. Donated by Alice Peck Slavin, 1993. 118.0 x 44.0 x 25.0, Raku-fired clay, Stoneware, 4.5 x 4.0 x 5.5 , Stoneware, oxide polychromed, treated linen and cotton wrapping, wood, built in sections and assembled

Brief Biography 1946 born Toronto, Ontario. 1964-65 University of Toronto, Toronto, Ontario. 1965-68 Ontario College of Art, Toronto, Ontario (drawing and painting). 1968-69 B.A.University of Guelph, Guelph, Ontario. 1969-71 M.A.(printmaking), Iowa State University, Ames, Iowa. 1971-72 Independent study in ceramics at Iowa State University.

Exhibition History 1986 Alice Peck Gallery, Burlington, Ontario. 1989 “Evocations”; The Guild Shop, Ontario Craft Council, Toronto, Ontario. 1991 The Gardiner Museum Shop, Toronto, Ontario. 1995 The Guild Shop, Ontario Craft Council. 1996 “Recent Acquisitions ‘95”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 11.11 Clayworks Gallery, Ottawa, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. Ottawa Art Gallery, Ottawa, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “The Spirit of Raku” (solo exhibition); The Guild Shop, Ontario Craft Council. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

The Last Accordion Player, 1997

Collection of the Burlington Art Centre. Donated by Bill and Louise Cooke, 1997.

39.7 x 14.5 x 14.5 , Porcelain, wheel thrown with hand built additions, glazes, lustre, incising

Lidded jar with sgraffito drawing of Newfoundland shore and village landscape with coloured sky; on the dome-shaped lid is a modelled figure of an accordion player playing; the figure is two thirds again the height of the jar itself; colours are strong, with the lid and figure in shiny black except for the head, hands and accordion of the player which are white with brown and orange; the land is black and the waters are mottled blue and green and purple.

Fire+Earth

Mr. Flame Head, 1995 Shrimp Dinnerplace Setting, 1997 Lobster Casserole, 1998 Private Collection. Collection of the Burlington Art Centre. Collection of the Artist. Functional Piece of the year, Donated by Jock & 46.0 (height), Porcelain with underglaze Doreen Wilson, 1997. 25.0 (height), Porcelain, underglaze, lustered glaze 3.4 x 27.7 x 27.7 (dinner plate), Earthenware, wheel thrown, incised, glazes, lustre.

Bird Jar, 2002 Mosaic Fountain with Pool, 1998 Collection of the Artist. Collection of the Artist.

42.0 (height), Porcelain, wheel thrown, carved, 2.5 m (height), Porcelain mosaic, mermaid luster fountain head

Brief Biography Ray Mackie 1971 B.A. University of Saskatchewan, Saskatoon, Saskatchewan. 1977 B.F.A. Nova Scotia College of Art and Design, Halifax, Nova Scotia. 1980 M.F.A. Indiana State University, Terre Haute, Indiana. 1990 B.Ed. Memorial University of Newfoundland, St. John’s, Newfoundland. 1980-99 Department Head, Coordinating Instructor, Visual Arts Department, College of the North Atlantic, Stephenville, Newfoundland.

Debra Kuzyk 1958 born Cutknife, Saskatchewan. 1980 Honours B.Ed. University of Saskatchewan, Saskatoon, Saskatchewan. 1981 Otis Art Institute, Los Angeles, California (special studies-ceramics). 1983 B.F.A. Nova Scotia College of Art and Design, Halifax, Nova Scotia. 1987-88 Alberta College of Art, Calgary, Alberta (special studies-printmaking). 1988-89 Banff Centre of Fine Arts, Banff, Alberta. One year residency. Together, they are Lucky Rabbit Pottery.

Exhibition History 1987 “Ray Mackie, Shelley McCoy”; Eastern Edge Gallery, St.John’s, Newfoundland. 1988 “New Work: Ray Mackie, Shelley McCoy”; Struts Gallery, Stephenville, Newfoundland. 1989 “The Trees are Talking”; The Banff Centre, Banff, Alberta. 1991 Westviking College, Stephenville, Newfoundland. 1994 “Home Is Where the Art Is”; Eastern Edge Gallery. 1995 “Home Is Where the Art Is”; Forest City Gallery, London, Ontario and Galerie Sans Nom, Moncton, New Brunswick. “Ray Mackie, Debra Kuzyk”; Devon House Gallery, St. John’s, Newfoundland. 1995-96 “Land and Sea: Eight Artists from Newfoundland”; Art Gallery of Newfoundland and Labrador, St. John’s, Newfoundland (travelled to Ireland). 1996 “Signatures: Newfoundland Women Artists and Writers”; Eastern Edge Gallery. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Clay: A Medium Based Practice” (invitational exhibition); Art Gallery of Nova Scotia, Halifax, Nova Scotia. 1999 “Fish, Fowl, Flora, and Fauna”; Devon House Gallery, St. John’s, Newfoundland. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Fish, Fowl, Flora, and Fauna”; Fog Forrest Gallery, Sackville, New Brunswick. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan “The Art of Worship”; Mary Black Gallery, Halifax, Nova Scotia. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Autoportrait: 10th National Biennial of Ceramics”; Trois-Rivières, Québec.

The Arrows of Time (For S.W.H.), 1989

Collection of the Burlington Art Centre. Donated by Gennum Corporation, 1990

50.0 x 50.0 x 30.0, Porcelain, glaze, lustre

Trompe I’oeil presentation of tea being poured from a pot into a cup with constellations and galaxies in the background; a hatched white teapot and cup and saucer with several plates glazed black with mauve and gold and blue evening sky decorations, which along with the blue tea itself and the blue steam from the tea link the various parts together. The overall piece is precariously balanced which adds to the mood of a moment in time.

Fire+Earth

Put A into B, 1981 Lidded Jar, 1983 Untitled (bowl), 1983 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1986. Donated by Mr. Herbert O. Bunt, 1990. Donated by Mr. Herbert O. Bunt, 1990.

25.5 x 31.5 x 18.0, Clay, slab built with hand 50.0 x 20.0 x 17.0, Stoneware, slab built, glaze 9.0 x 21.0 x 21.0, Low fire talc based clay, built additions ceramic photo decals, glaze, lustre

Le Denominateur Commun, 1984 Quilted Teapot, 1989 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1994. Donated by Colleen Dullian, 1997.

74.0 x 56.0, Multi colour lithograph on tinted 19.8 x 33.0 x 16.5 , Porcelain, hand built, lustre paper

Brief Biography 1954 born Bouchette, Québec. 1975 Cégep du Vieux-Montréal, Montréal, Québec. 1977 Alberta College of Art, Calgary, Alberta. 1979 North Staffordshire Polytechnic, Stoke-on-Trent, United Kingdom. 1982 The Banff Centre, Banff, Alberta. 1984 M.A. San Francisco State University, San Francisco, California. 1987 M.F.A. University of California, Los Angeles, California. 1994 Artists in Residence Program, Tama Art Studio, Machida, Japan. 2000 Chalmers Award for Crafts.

Exhibition History 1985 “Le Souci de Soi”; Walter Phillips Gallery, Banff, Alberta. 1987 “Paul Mathieu”; Garth Clark Gallery, Los Angeles, California. 1988 Garth Clark Gallery, New York, New York. 1990 “Clay Today: Contemporary Ceramists and Their Work” (group exhibition); Los Angeles County Museum of Art, Los Angeles, California. 1992 “5th National Biennial of Ceramics”; Trois Rivières, Québec, (Prix Pierre Legault). “The 3rd International Ceramics Competition”; Mino, Japan. 1994 Artists in Residence Program, Tama Art Studio, Machida, Japan. “6th National Biennial of Ceramics” Trois Rivières, Québec (Prix de la Ville de Trois Rivières). 1997 Prime Gallery, Toronto, Ontario. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Voyage: 9th National Biennial of Ceramics”; Trois-Rivières, Québec. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “World Ceramic Exhibition”; Korea. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “75th Anniversary Alumni Exhibition”; Alberta College of Art and Design, Calgary, Alberta. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “The 6th International Ceramics Exhibition”; Mino, Japan and the International Ceramics Museum, Taipei, Taiwan. Prime Gallery, Toronto, Ontario.

Publications “Clay Today: Contemporary Ceramists and Their Work.” Chronicle Books, 1990. L’Espace de la Céramique. Musée du Québec, 1987.

‘Quillwork’ Covered Box, 1986

Collection of the Burlington Art Centre. Donated by the Artist, 1993.

10.0 x 13.5 x 10.0 , Clay, press moulded, coloured slips, glaze

Rectangular lidded box covered with quill type decoration in coloured slips in traditional MicMac Indian patterns.

Fire+Earth

Black Box, 1992 From Beneath the Covers III, 1992 Triangular Spiral, 1992 Collection of the Burlington Art Centre. Collection of the Art Gallery of Nova Scotia. Collection of the Art Gallery of Nova Scotia. Donated by the Artist, 1994. Gift of the Artist, Halifax, Nova Scotia, 1993. Gift of the Artist, Halifax, Nova Scotia, 1993.

12.0 x 11.5 x 11.5 , Porcelain slip, wire, beads, 34.5 x 34.0 x 1.5, Porcelain, wire and beads 41.5 x 41.0 x 0.3, Porcelain, wire and beads plexiglass rods

Small Bowl with Ladders and Bridges, 1996 Security Blanket, 1997 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by the Artist, 1999. Purchased through a grant from the Walter & Duncan Charitable Fund, 1999. 9.5 x 13.0 x 13.0 , Porcelain, copper wire, beads 74.0 x 54.0 , Porcelain, decals, waxed linen, wooden dowel

Brief Biography 1944 born Worcestershire, England 1967-68 John Abbott College, Montréal, Québec. 1976-80 B.F.A. Nova Scotia College of Art and Design, Halifax, Nova Scotia. 1984 The Banff Centre, School of Fine Arts, Banff, Alberta. (Winter Program) 1991-92 M.A. (3D design, ceramics) Cardiff Institute of Higher Education, Cardiff, Wales. 2000- Doctoral Candidate, Concordia University, Montréal, Québec

Exhibition History 1987 “Second World Triennial Exhibition of Small Ceramics” (juried exhibition); Zagreb, Yugoslavia. Gallery 1667, Halifax, Nova Scotia. 1989 “Ten Artists: Ten Provinces” (juried exhibition); York Quay Gallery, Harbourfront, Toronto, Ontario. 1992 “From Beneath the Covers”; Mount Saint Vincent Art Gallery, Halifax, Nova Scotia. Gallery 1667, Halifax, Nova Scotia. Ashton’s Gallery, Toronto, Ontario. 1993 “Breaking the Mold”; Gallery Gabor, Toronto, Ontario. 1994 “Recent Acquisitions ‘93”; Burlington Art Centre, Burlington, Ontario. “XIV International Biennial of Ceramic Arts” (juried exhibition); Castel Museum, Vallauris, France. 1995 The George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 Art Gallery of Nova Scotia, Halifax, Nova Scotia (solo exhibition touring to Confederation Centre for the Arts, Charlottetown, Prince Edward Island and Burlington Art Centre). 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia. “Voyage: 9th National Biennial of Ceramics”; Trois-Rivières, Québec. “Recent Acquisitions”; Burlington Art Centre. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Games Needles Play” (juried exhibition); Museum London, London, Ontario. “52nd International Ceramic Art Exhibition” (juried exhibition); International Museum of Ceramic Art, Faenza, Italy. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Art Encounter 2002”; Von Leibig Art Centre, Naples, Florida.

Publications Ceramic Monthly, Volume 31, May 1983. Ceramic Monthly. Volume 32, April 1984. Ceramic Monthly, Volume 34, December 1986. Arts Atlantic 34. Volume 9, No.2, 1989. Arts Atlantic 35.Volume 9, No.3, 1989. Surface Design Journal. Volume 16. No.1. Fall 1991. Arts Atlantic 42. Volume 11, No.2, 1992. American Ceramics. Volume 10, Number 4, 1993

Grecian Vase, 1975

Collection of the Burlington Art Centre. Donated by the Artist, 1995.

39.4 x 20.0 x 11.0 , Stoneware with manganese dioxide and rubbed glaze

Handbuilt vase of slumped flat coils with coils extending out from each side; thrown neck inset at top; impression of a Greek figure clad in a toga with arms outstretched one higher than the other; glazed to emphasize coils and form, brown with dark brown.

Fire+Earth

Morphosis, 1984 Solitaire, 1990 Slab Vase, 1990 Collection of the Artist. Collection of the Artist. Collection of the Burlington Art Centre. Donated by the Artist, 1995. 24.5 x 19.0 x 10.0, Porcelain, cast, pressed, coil 68.0 x 12.0 x 12.0, Porcelain, cast, pressed, coil built, oxidation fired built, oxidation fired 43.9 x 20.0 x 13.1 , Low fire talc based clay, slab built, spray glazed with masking

Slab Vase, 1990 Vessel, c1980 Collection of the Burlington Art Centre. Private Collection. Donated by the Artist, 1995. 12.5 x 16.3 x 16.8, Porcelain, slip cast and 59.0 x 33.0 x 11.5 , Low fire talc based clay, slab altered, multi-fired with a tin/chrome glaze and built, glazed rutile crystallization

Brief Biography born British Columbia. 1967 First began to work with clay. 1973-76 Sheridan College School of Design, Ontario (Honours, Craftsman Designer majoring in clay). 1978 Kohler Foundation for the Arts, Kohler, Wisconsin. 1991 Stopped working in ceramic art.

Exhibition History 1978 “In the Realm of Porcelain”; Alice Peck Gallery, Burlington, Ontario. 1980 “On the Porcelain Wings”; Alice Peck Gallery. 1984 “Here Comes the Sun”; Bronte Gallery, Oakville, Ontario. “Formalities: Porcelains and Related Paintings”; McMaster Medical Centre Gallery, Hamilton, Ontario. 1987 “Fable Island Now”; Burlington Artist’s Gallery. 1990 “Recent Works”; Anthony Gallery, Burlington. 1996 “Recent Acquisitions ‘95”; Burlington Art Centre, Burlington, Ontario. 1997 “Figures, Function or Not”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Shifty, Shiner, and Snout Supreme Soup Tureen, 1985

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communications, Province of Ontario, 1991.

55.5 x 35.0 x 35.0 , Stoneware, oxides, stains, enamel

Very large soup tureen, slab built with buttressed base; lid guarding tureen with armoured eyes; a lot of architectural detail gives this piece great presence developed further by the deep mauve colour of the main structure topped off by the lime-green eyes.

Fire+Earth

Coelacanth 17 Man Submersible, 2001 Night Sky (The Big Dipper), 2000 The Hand That Feeds You, 1985 Collection of the Artist. Collection of the Artist. Collection of the Artist.

28.0 x 30.0 x 11.0, Earthenware, stains, oxides, 34.0 x 36.0 x 14.0, Earthenware, stains, oxides, 19.0 x 44.0 x 11.0, Stoneware, oxides, brass, silver, brass brass rod steel rod and base

The Hunter, 1999 Ritual Herb Pipe, 1985 Collection of the Artist. Collection of the Artist.

47.0 x 28.0, Earthenware, stains, oxides, silver, 32.0 x 28.0 x 18.0, Stoneware, stains, oxides silk, glass eyes

Brief Biography 1950 born Pembury, England. Self taught, he has worked as a ceramist, silversmith, photographer and designer for 25 years. 1969-94 Travelled extensively in South East Asia, India, Africa, the Middle East, Europe, the United States, Central and South America - often living with tribal cultures.

Exhibition History Numerous group exhibitions, primarily does commission work. 1985 “SOUP, SOUP, Beautiful SOUP: The Canadian Component”; Koffler Gallery, North York, Ontario. 1989 “Animals in Clay”; Burlington Art Centre, Burlington, Ontario. 1997 “Figures: Function or Not”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 FIRE+EARTH: Contemporary Canadian Ceramics; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Forget-Me-Not Portrait Plant, 1985

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Citizenship and Culture, Province of Ontario, 1987.

97.5 x 45.0 x 20.5, Earthenware, acrylic paint, wood

A pastel bust of a person with a worried look on a purple coloured face framed with leaf-like hair, is poised on top of a very mechanical looking structure comprised of a cylinder on metal-like plates attached to a two- sided form faced with large cut-outs of metal-like plates; an environmental statement.

Fire+Earth

Coelacanth 17 Man Submersible, 2001 Night Sky (The Big Dipper), 2000 The Hand That Feeds You, 1985 Collection of the Artist. Collection of the Artist. Collection of the Artist.

28.0 x 30.0 x 11.0, Earthenware, stains, oxides, 34.0 x 36.0 x 14.0, Earthenware, stains, oxides, 19.0 x 44.0 x 11.0, Stoneware, oxides, brass, silver, brass brass rod steel rod and base

The Hunter, 1999 Ritual Herb Pipe, 1985 Collection of the Artist. Collection of the Artist.

47.0 x 28.0, Earthenware, stains, oxides, silver, 32.0 x 28.0 x 18.0, Stoneware, stains, oxides silk, glass eyes

Brief Biography 1935 born Fergus Falls, Minnesota. 1957 B.A. Hamline University, St. Paul, Minnesota. 1959 M.S.W. Columbia University, New York, New York. 1959-62 University of Minnesota, Minnesota (pottery with Warren Mackenzie). 1973 M.F.A. University of Cincinnati, Cincinnati, Ohio (ceramic sculputre with Roy Cartwright). 1976-94 Fourteen research field trips to Mexico, southern Europe (1983), India and Nepal (1991) to view pre-Columbian, terra cotta and other ceramic arts, temples, museums, pottery villages and terra cotta gar dens. 2000-01 Instituto Allende, San Miguel de Allende, Mexico: Works in Bronze Canada-Mexico Ceramic Exchange (2000 - Puebia, Mexico; 2001 - Banff, Alberta). 2002 Ceramic study trip to Turkey.

Exhibition History 1979 “Sally Michener: Ceramic Sculpture”; Vancouver Art Gallery, Vancouver, British Columbia. 1983 “Sally Michener”; Bau-Xi Gallery, Vancouver, British Columbia. 1984 “Painted Garden”; Muttart Conservatory, Edmonton, Alberta. 1985 “Insideout” (solo exhibition); Surrey Art Gallery, Surrey, British Columbia. 1986 “The Company She Keeps”; University of British Columbia Fine Arts Gallery, Vancouver, British Columbia. 1988 “Keeping in Touch” (permanent installation); Burlington Art Centre, Burlington, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Beyond the Surface: ECIAD Collaborations”; Charles Scott Gallery, Vancouver, British Columbia. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “The Mexico-Canada Exchange Exhibit”; Museo Poblano Virranal, Pluebla, Mexico. “Voyage: 9th National Biennial of Ceramics”; Trois-Rivières, Québec. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Ceramica del Norte”; The Works, Edmonton, Alberta. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “ProCLAYmation”; Sunshine Coast Art Gallery, Sechelt, British Columbia.

Publications Fired Sculpture. Illyas Pagonis, Art Gallery of Greater Victoria, 1974. Sally Michener: Insideout. Surry Art Gallery, Surrey, British Columbia, 1985. Ontario Crafts, Garden of Earthly Delights, Summer 1990. Chronology: Vancouver Art and Artists 1931-1983. Vancouver Art Gallery, Norah Kember, Editor.

Not of Human Knowledge, 1981

Collection of the Burlington Art Centre. Purchased through a grant from the Walter and Duncan Gordon Charitable Foundation and the Canada Council Art Back Special Purchase Assistance Program, 1986.

45.0 x 110.0 x 57.0 , Clay with slip, oxides, residual salt firing, Raku

This piece is a funerary monument. It has a panel with two doors standing open towards the viewer. Looking in one sees two small boxes and beyond them a second higher wall with a door and a window with only part open; that is the upper half of the door space is cut away; one of the window panes is not open while the other three are. The ashes of Ruth Gowdy McKinley are fired into one of the boxes. The work is done in muted natural tones.

Fire+Earth

From the Office of the President, 1972 St. Andrea’s Fault, 1989 Spring Tea, 1994 Collection of the Burlington Art Centre. Collection of the Artist. Collection of the Burlington Art Centre. Donated by the Artist, 1997. Purchased through a donation from Lillian 30.0 x 30.0 x 1.5, Clay, slip cast, altered, air- Forester, 1995. 20.0 x 90.0 x 60.0, Porcelain, slip cast, altered, brushed with oxides and glazes, oxidation fired air brushed glazes, oxidation fired 6.0 x 14.5 x 14.5, Porcelain, coil built, glazed, low fire oxidation

Tea for Titania, 1995 Mutation Series, c. 1998 Collection of the Art Gallery of Nova Scotia. Collection of the Burlington Art Centre. Purchase, 1998. Donated by Joan Bennett, 2000.

6.5 x 16.2 x 16.2, Porcelain, coil built, glazed, ea. 18.0 x 14.0 x 11.0 , Porcelain, slip cast, slips low fire oxidation and glazes, oxidation fired

Brief Biography born Toronto, Ontario. 1966-70 Studio experience (ceramics), Ron Roy Studio. 1970-72 Diploma, Georgian College of Applied Arts and Technology, Barrie, Ontario. 1973 Post-graduate work, Georgian College of Applied Arts and Technology. 1974 Ceramic History Course, Royal Ontario Museum, Toronto, Ontario.

Exhibition History 1981 “New Works in Clay III”; Everson Museum, Syracuse, New York. 1983 “Clay Sculpture”; University of Waterloo, Waterloo, Ontario. 1985 “SOUP SOUP Beautiful SOUP”; The Koffler Gallery, North York, Ontario. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1988 “Canadian Cultural Exchange Exhibition” (touring exhibition); Calgary, Alberta and Australia. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Center. 1990 North China, University of Technology, Beijing, China. 1994 “6th National Biennial of Ceramics”; Trois Rivières, Québec. 1995 “Ann Mortimer: An Artist’s Journey”; Burlington Art Centre. 1996 “White on White: Contemporary Canadian Ceramics” (group travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Poetry of the Vessel”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia. “The Spirit of Porcelain”; Jingdezhen Ceramic Institute, Jingdezhen, China. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “A Matter of Clay”; Galleria London, London, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “International Academy of Ceramists Members’ Exhibition”; Athens, Greece.

Publications Ceramic-Mastering the Craft, Richard Zakin, 1990. Charles Bronfman Collection, Claridge, Montréal, Québec, 1991. American Craft, October/November 1992. “Containment- The Space Within,” Canadian Clay and Glass Gallery, Waterloo, Ontario, 1994. “Ann Mortimer: An Artist’s Journey,” Jonathan Smith, Fusion Magazine Spring 1996.

Basket, 1994

Collection of the Burlington Art Centre. Given by Stephen& Barbara Pustai, in memory of their son Robert James Pustai, 1997.

47.0 x 20.0 x 18.4 , Porcelain, slab built, glazes

Tall cylinder of thin porcelain with coils for handles attached to sides with rectangles of thin porcelain on the inside and the outside, and held together at the top with rectangles of thin porcelain pinched around the coils; another piece is on one handle - the porcelain has patterns of waves of brown on blue, with decorative pea-sized dabs of clay stuck on the cylinder in random patterns; detail at base where join occurs; extremely fragile.

Fire+Earth

Basket, c. 1984 Teapot, 1997 Cup, 1998 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Private Collection. Donated by Aaron Milrad, 1998. Given by Gladys Ramsey, in memory of her husband Clifford J. Ramsey, 1997. 15.0 x 10.0 x 14.0, Porcelain, slab built 52.5 x 30.0 x 24.0 , Porcelain, slab built, glazes 18.8 x 13.8 x 11.4 , Porcelain, slab built, glazes

Rigero, The Supreme Rooster, 2001 Pair of Pots, Undated Private Collection. Collection of the Burlington Art Centre.

16.5 x 10.5 x 11.5, Porcelain, slab built 17.5 x 13.0 x 12.0; 16.0 x 12.0 x 14.0, Porcelain, slab built, glazes

Brief Biography born Trinidad. 1973-74 John Abbot College, Montréal, Québec. 1974-75 Centre des Arts Visuels, Montréal, Québec.

Exhibition History 1984 “Shapes: Contemporary Canadian Porcelain Sculpture”; Musée Marsil, St-Lambert, Québec. 1985 Burlington Art Centre, Burlington, Ontario. “Dragon Store, Innovation in Clay: Ten International Artists”; The Art Gallery at Harbourfront, Toronto, Ontario. 1988 “Mad Hatter’s Tea Party”; Burlington Art Centre. 1993 “Kayo O’Young & Diane Nasr: Together Alone”; Burlington Art Centre. 1996 “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Teapot, 1988

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communication, Province of Ontario, 1989.

42.0 x 21.0 x 38.0 , Clay, paint, acrylic varnish

Teapot with different elements emphasized by different colours; blue base and green pot; handle, lid and spout are blue with pink edges; spout has pink edge and blue interior; glaze looks painted; some distortion of dimension.

Fire+Earth

Byzantine Tree, 1996 Untitled, 1996 Papyrus Fan, 2001 Collection of the Burlington Art Centre. Collection of the Artist. Collection of the Artist. Donated by Karen Brouwer, 1997. 66.0 x 38.0 x 13.0, Earthenware with ceramic 52.0 x 17.0 x 11.0, Earthenware with ceramic 206.0 x 106.0 x 25.0, Earthenware with ceramic stains stains stains

Papyrus Vessel, 2001 Lotus Fish, 2001 Collection of the Artist. Collection of the Artist.

62.0 x 60.0 x 18.0, Earthenware with ceramic 63.0 x 36.0 x 12.0, Earthenware with ceramic stains stains

Brief Biography 1938 born Hamburg, Germany. 1962 Moved to Canada. 1975-77 Champlain College, Saint Lambert, Québec. 1988 Masterclass with Arthur (Mickey) Handy, Burlington Cultural Centre, Burlington, Ontario. 1991 Banff Centre for the Arts, Banff, Alberta.

Exhibition History 1988 “Mad Hatter’s Tea Party” Burlington Art Centre, Burlington, Ontario. 1990 “Mirage”; Burlington Art Centre. 1993 “5th National Biennial of Ceramics”; Trois Rivières, Québec. 1994 “Bay Area Ceramists”; Burlington Art Centre. Gallery Lynda Greenberg, Ottawa, Ontario. 1996 “Byzantium on Our Minds”; Carnegie Gallery, Dundas, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. Oriental Ceramics Exhibition; Kyonggi University, Suwon, Korea. “Egypt Revisited” (solo exhibition); Burlington Art Centre. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. Prime Gallery, Toronto, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Ontario Crafts. Ingrid Nicolai, Mirage (Review), Summer 1990. Ontario Crafts. Bay Area Ceramists, (Review), Joan McNeil, Summer 1993. “Containment: The Space Within.” Canadian Clay and Glass Gallery, Waterloo, Ontario, 1994.

Muffled Teapot, c. 1980

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1985.

24.8 x 14.4 x 29.7 , raku clay, glaze

Unglazed raku fired teapot made in the shape of a car muffler; handle formed by bending connecting pipe around and attaching it in the middle of the cylinder complete with huge nut; environmental statement.

Fire+Earth

Bowl, c. 1970 Large Green Bowl (graduation piece), 1979 Offering Basket #1, 1983 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Helen Beswick, Dundas, Ontario, Donated by the Artist, 2000. Donated by Mr. Herbert O. Bunt, 1984. 2000. 11.4 x 31.0 x 29.9 , raku clay, wheel thrown, 9.3 x 29.7 x 29.7 , raku clay, rush 9.3 x 17.7 x 17.7 , Earthenware, wheel thrown, glazes glaze

Box, c. 1990 Mask, c. 1993 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Helen Beswick, Dundas, Ontario, Donated by the Artist, 1998. 2001. 33.0 x 23.5 x 4.5 , raku clay, oxides, metal, corn 6.0 x 12.5 x 7.6 , raku clay, slab built, glaze, husks oxides

Brief Biography 1975 Honours General Arts, Sheridan College, Ontario. 1979 Honours Ceramics, Sheridan College School of Art and Design, Ontario. 1980 American Association of Art Therapists, New York.

Exhibition History 1980 Prime Canadian Crafts Gallery, Toronto, Ontario. 1984 “Raku” (group exhibition); Burlington Art Centre, Burlington, Ontario. 1986 “Raku then and now”; Koffler Gallery, North York, Ontario and Canada House, London, England. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre. 1989 “Feat of Clay: The Fifth Anniversary Exhibition of the Permanent Collection”; Burlington Art Centre. 1992 “Acquisition/Inquisition”; Burlington Art Centre. 1994 “Containment: The Space Within”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Raku then and now,” Koffler Gallery, North York, (group exhibition), 1986. Ceramic Monthly “Up Front-Agnes Olive.” Fall 1990. Ontario Craft “Meditations.” Kit Lort, Spring 1990. “Raku - A Review of Contemporary Work.” Tim Andrews, 1994. “Containment: The Space Within.” Canadian Clay and Glass Gallery, Waterloo, Ontario, 1994.

Flower Brick, c. 1980

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1984.

18.9 x 29.7 x 18.8 , Earthenware, glaze

Thrown and altered enclosed form with high sides and slightly domed top; top is pierced with holes radiating from the centre opening; piece is glazed in a deep green with dark blue overglaze creating a surface pat- terned with leaves.

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Ewer, c. 1987 Fish Vase with Greek Pot, 1990 Spirit Pot, 1996 Collection of the Burlington Art Centre. Collection of the Art Gallery of Nova Scotia. Collection of the Art Gallery of Nova Scotia. Donated by Ann Cummings, 1999. Purchase, 1994. Purchased with the support of the Canada Council Acquisition Assistance Program, Ottawa and Tony Saulnier, Halifax, 1997. 11.5 x 8.5 x 7.5 , Red Earthenware, wheel 25.0 x 26.5 x 8.5, Earthenware, resist and poly- thrown, tin glazes, oxides chrome glaze 150.0 x 50.0 x 50.0, Earthenware, wheel thrown, constructed, press molded, slip and coloured glazes

Flower Brick with Cizhou Pot and Shrubs, Heaven and Earth Vase, 1996 1988 Collection of the Canadian Clay and Glass Collection of the Burlington Art Centre. Gallery.

24.0 x 30.0 x 17.0, Earthenware, wheel thrown, 12.0 x 60.0 x 30.0, Earthenware, press molded, altered and contstructed, maiolica with resist, maiolica and Porcelain decoration polychrome and on-glaze decoration

Brief Biography 1944 born Binghamton, New York. 1962-64 University of Buffalo, Buffalo, New York (Chemistry Major). 1964-65 University of St. Andrews, St. Andrews, Scotland. 1965-67 B.A. Wilmington College, Wilmington, Ohio. 1967-69 M.F.A. Ohio State University, Athens, Ohio. 1969 Arrived in Canada to teach at the Nova Scotia College of Art and Design (NSCAD), Halifax, Nova Scotia 1976 Studied in China. 1978 Returned to China. 1981 Grant to study Islamic ceramics at the Victoria and Albert Museum, London, England. Grant to study faience in Provence, France. Also visits Italy. 1997 Awarded an honourary Professorship at the Jingdezhen Ceramics Institute, Jiangxi, People’s Republic of China.

Exhibition History 1976 “Pot de Fleurs”; Mount St. Vincent University Art Gallery, Halifax, Nova Scotia. 1982 Prime Gallery, Toronto, Ontario. 1984 “Flowerholders”; Prime Gallery. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1989 Anna Leonowens Gallery, Halifax, Nova Scotia. 1991 “The Painted Pot”; Burlington Art Centre, Burlington, Ontario. 1994 “Containment: The Space Within”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 1995 “Modern Majolica”; Burlington Art Centre. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Ceramics: Mastering the Craft. Richard Zakin, Chilton Books, 1990. “Functional Ceramics,” Ceramic Monthly, November 1992. Tinglazed Earthenware. Daphne Carnegy, ANC Black, London/Chilton, Radnor, Pennsylvania, 1993. Terra Firma: Five Immigrant Artists in Nova Scotia. Essay, Silver David Cameron and John Murchie, 1993.

Porcelain Bowl, 1993

Collection of the Burlington Art Centre. Donated by Bill and Louise Cooke, 1994.

15.0 x 55.0 x 55.0, Porcelain, wheel thrown, incised, oxide, glaze

Thrown porcelain bowl decorated inside and out with watery images, which create a sense of great depth in this piece; frilled base edge and plain top rim are both white; the rest is blue with dark and light brushed- on images.

Fire+Earth

Raku Vase, 1984 Platter, 1986 Pitcher, 1993 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Elin Racine, Toronto, Ontario, 2001. Purchased through a grant from the Ministry Donated by John and Cathy Chow, 1994. of Citizenship and Culture, Province of Ontario, 36.0 x 30.2 x 28.6 , Porcelain, wheel thrown, 1987. 34.0 x 27.0 x 23.5, Porcelain, wheel thrown, glazes, Raku fired incised, glaze 7.5 x 52.0 x 52.0, Porcelain, glaze

Raku Jar, 1993 Sculpture Pot, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Purchased through a generous donation by Donated by Mr. Herbert O. Bunt, 1984. Lillian Small, 1993. 28.0 x 22.8 x 23.3 , Stoneware, glaze 38.5 x 38.0 x 38.0 , Porcelain, glaze with wax resist, Raku fired

Brief Biography 1950 born Canton, China. 1965 Came to Canada. 1970-73 Central

Exhibition History 1987 “Kayo O’Young: Ten Years” (travelling exhibition); Ontario Crafts Council, Toronto, Ontario. 1989 Galerie Franklin Silverstone, Montréal, Québec. 1993 “Kayo O’Young & Diane Nasr: Together Alone”; Burlington Art Centre, Burlington, Ontario. 1995 “New Works” Harbinger Gallery, Waterloo, Ontario. “Recent Acquisitions ‘94”; Burlington Art Centre. 1996 “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Krater, 1994

Collection of the Burlington Art Centre. Purchased through a donation from Mr. and Mrs. Douglas Leggat, 1996.

47.0 x 46.0 x 37.5, Earthenware, wheel thrown

A krater is a “vase of classical antiquity having a large round body and a wide mouth and used for mixing wine and water.” Webster’s. This one is decorated with Chinese characters on a black background, with music flowing around the pot below its shoulder behind decorative arches; background colour is speckled brown, blue and yellow.

Fire+Earth

Vase, 1994 Song (vase to vase), 1995 Plate, 1995 Collection of the Art Gallery of Nova Scotia Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Purchase, 1994. Purchased through a donation from the Walter Purchased through a donation from the Walter and Duncan Gordon Charitable Foundation, and Duncan Gordon Charitable Foundation, 53.8 x 29.5 x 29.5, Earthenware, wheel thrown 1996. 1996.

16.0 x 71.0 x 23.0, Terra sigilatta, glaze high- 5.5 x 52.0 x 52.0, Terra sigilatta, glaze high- lights and crackle glaze, maple shelf lights

Virtual Vase Pair, 1995 Al Barelli, 2001 Collection of the Canadian Clay and Glass Collection of the Artist. Gallery. Gift of the Artist 210.0 (height), Earthenware, wheel thrown in sections, terra sigillata dimensions unavailable, Earthenware, terra sigilatta and underglaze

Brief Biography 1956 born Edmonton, Alberta. 1974-77 B.A. University of Alberta, Edmonton, Alberta. 1982-84 The Banff Centre, School of Fine Arts, Banff, Alberta (Winter Cycle- Ceramics). 1984-85 University of Victoria, Victoria, British Columbia (Art History). 1986-87 M.F.A. Nova Scotia College of Art and Design, Halifax, Nova Scotia.

Exhibition History 1990 “New Earthenware”; Prime Gallery, Toronto, Ontario. 1991 “Vaces”; Provenance Gallery, Calgary, Alberta. 1992 “A View from Calgary”; Galerie Barbara Silverberg, Montréal, Québec. 1993 Prime Gallery, Toronto, Ontario. 1995 “Vase to Vase”; Southern Alberta Art Gallery, Lethbridge, Alberta. “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1996 “Recent Acquisitions ‘95”; Burlington Art Centre, Burlington, Ontario. “Greg Payce”; Prime Gallery. 1997 “Figures: Function or Not”; Burlington Art Center. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. “Canadian/Chinese Ceramics Cultural Conference Exhibition”; The China Ceramics Institute, Jingdezhen, China. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “A Question of Identity: Ceramics at the End of the Twentieth Century” in conjunction with the International Academy of Ceramics Conference; Canadian Clay and Glass Gallery, Waterloo, Ontario. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “The 1st World Biennale of Ceramics”; Seoul, Korea. “Gift of the Gods, the Art of wine and Revelry”; Royal Ontario Museum, Toronto, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Voyage: 9th National Biennial of Ceramics”; Trois-Rivières, Québec. “Prairie Clay”; The Art Gallery of Southwestern Manitoba, Brandon, Manitoba “Greg Payce”; The Dunlop Art Gallery, Regina, Saskatchewan.

Publications “Greg Payce, The Post Minoan Pots.” The Craft Factor Magazine, Susan Mensies, 1991. “Review of a View from Calgary,” Contact Magazine. S.V.Gersovitz, Summer 1994. “Greg Payce. Recent Pottery.” Arts Atlantic, Gloria Hickey, Summer 1994. “Vase to Vase: Greg Payce.” Southern Alberta Art Gallery. David Garneau, 1995.

Untitled, 1986

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1988.

8.0 x 15.2 x 84.5 , Stoneware, glaze

Long narrow hand built leaf-like vessel; with six stick-like forms resting across it.

Fire+Earth

16.0 x 14.5 x 14.5, Clay 16.2 x 8.0 x 9.7, Stone 9.8 x 2.4 x 6.3, Stone

Figure, 1982 Woman, 1985 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of Norman Zepp and Judith Varga Gift of Norman Zepp and Judith Varga

8.3 x 5.9 x 7.3, Stone 8.9 x 3.4 x 4.6, Stone

Brief Biography 1960 born Toronto, Ontario. 1983 Ontario College of Art, Toronto, Ontario. Graduated as an Associate of the Ontario College of Art (A.O.C.A.) 2001 Toronto Outdoor Art Exhibition, Ceramics Award. She has been a ceramics instructor/teacher since 1995.

Exhibition History 1988 “Nocturne”; Ontario Craft Council, Toronto, Ontario. 1989 Lynda Greenberg, Ottawa, Ontario. Prime Gallery, Toronto, Ontario. 1992 “Acquisition/Inquisition”; Burlington Art Centre, Burlington, Ontario. “Abstract Sculpture/Vessel”; Burlington Art Centre. 1994 “Docent Curating Project”; Burlington Art Centre. 1996 “Mutual Affinity”; Castellani Art Museum of Niagara University, Buffalo, New York. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Written in Clay”;Harbinger Gallery, Waterloo, Ontario 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “A Bowl For All Seasons”; George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Elemental”; Lafreniere and Pai Gallery, Ottawa, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Fusion. November 1986. Craft News. April 1988. Fusion: “In Review.” January 1988. “Kitchen Wisdom.” Camden House Publishing, 1991.

River Riders #3, c. 1990

Collection of the Burlington Art Centre. Donated by Mr. Vincent Tovell; in honour of Mr. Ross McGill and Mr. Jim Weisz for all the work they have done in supporting the crafts through the gallery, Dexterity, during the 1970s and 80s, 1990.

55.0 x 43.5 x 20, White Earthenware, hand built

Woman in a boat riding the waves with fish on a pillar; she leans out and grasps one of the fish as they swim alongside her boat.

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Covered Box, c. 1967 Chastity, c. 1975 Europa, 1985 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Patricia Rogal, 1993. Donated by the Artist, 1997. Purchased through a grant from the Ministry of Culture and Communication, Province of 9.0 x 7.0 x 7.0, Stoneware, wheel thrown, glaze 21.4 x 39.4 x 19.6, Earthenware, wheel thrown, Ontario, 1988. hand built additions, smoke fired 180.0 x 44.0 x 44.0, Clay, glaze, plywood base

Breathing Life, 1985 Rooted Rabbit, 1992 Collection of the Canadian Clay and Glass Collection of the Artist. Gallery. Bequest of Woldemar Petrie. dimensions unavailable, White Earthenware, hand built, metal dimensions unavailable, White Earthenware, zinc matte glaze, overglaze stains

Brief Biography 1936 born Durban, South Africa (of British parents). 1960 Came to Canada from Zambia. B.A. (Fine Art) University of Guelph, Guelph, Ontario. M.F.A. Claremont Graduate School, Claremont University Centre, California. 1977 Began teaching at the University of Waterloo, Waterloo, Ontario. 1997 Member, Royal Canadian Academy of Arts (RCA) 1998 Member, International Academy of Ceramics (IRC) 2001 Professor Emeritus, University of Waterloo.

Exhibition History 1987 “Large Format Works in Clay”; Burlington Art Centre, Burlington, Ontario. 1990 Dexterity Gallery, Toronto, Ontario. 1990 “River Riders”; Dexterity Gallery. 1992 “Ann Roberts, Harvest: Coming Full Circle” (travelling exhibition); Kitchener-Waterloo Art Gallery, Kitchener, Ontario, Burlington Art Centre and The Art Gallery of Nova Scotia, Halifax, Nova Scotia. 1994 “Small Despot & Sophia’s Spiral”; CIRCA Gallery, Montréal, Québec. 1996 “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “Echoes of the Goddess” Harbinger Gallery, Waterloo, Ontario. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Window to the 21st Century”; Tolgyfa Gallery, Budapest, Hungary. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Voyage: 9th National Biennial of Ceramics”; Trois-Riviè res, Québec. “Drawing on the Figure”; Canadian Clay and Glass Gallery, Waterloo, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. International Academy of Ceramics; Kwangju, Korea. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Ceramic Sculpture,” Robin Hopper, Chilton Books, Pennsylvania, 1984. “Ann Roberts Harvest: Coming Full Circle.” Gloria Hickey, Kitchener-Waterloo Art Gallery, 1992. Ontario Craft. Ann Roberts, Harvest, Spring 1993. “Hand-Formed Ceramics: Creating Form and Surface.” Richard Zakin, Chilton Books, Pennsylvania, 1996.

Straight Double Edge Dinner Set, 1989

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communications, Province of Ontario, 1991.

Size varies with installation., Porcelain, wheel thrown and carved, Tenmoku glaze, reduction fired to cone 10

8-piece dinner set of eight-sided porcelain, with temmoku glaze; shiny black surface with warm brown where glaze breaks on edges and details.

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Branch Bottle, 1985 Double Slab Plate, 1991 Snow Plate, 1996 Collection of the Artist. Collection of the Artist. Collection of the Artist.

30.0 (height), Porcelain, wheel thrown, altered, 17.5 x 17.5, Clay, slab built with wheel thrown 36.0 (height), Porcelain, terra sigilatta and applied decoration, celadon glaze, reduction foot, Tenmoku glaze, reduction fired to cone 10 matte white glaze, wood fired to cone 10 fired to cone 10

Covered Jar, 2000 Branch Bottle, Undated Collection of the Artist. Collection of the Burlington Art Centre. Purchased through a donation from the Walter and Duncan Gordon Foundation, 1996. 16.5 (height), Stoneware, wheel thrown, altered, Shino glaze, reduction fired to cone 10 33.0 x 20.0 x 20.0, Porcelain, wheel thrown, altered, Tenmoku glaze, reduction fired to cone 10

Brief Biography 1935 born Montréal, Québec. 1963 Ontario College of Art, Toronto, Ontario. 1967-85 Established the ceramics studio and developed the curriculum for Centennial College’s continuing education department, Scarborough, Ontario. 1989 Award winning set on display in Mino, Japan. This set purchased in 1991. Ron is a writer, a technical advisor and consultant to studio potters, a technical advisor to Ceramics Monthly and is persuing experiments with dilatometry.

Exhibition History 1984 “The Perfect Setting”; Government House, Ottawa, Ontario (Special Award for Contemporary Design). 1985 “Thresholds”; 4th International Ceramic Symposium, Toronto, Ontario. 1986 “Fireworks ‘86” invitational exhibition organised by FUSION: The Ontario Clay and Glass Association, Toronto, Ontario. 1987 Art Gallery of Temiskaming, Temiskaming, Ontario. 1989 “The 2nd International Ceramics Competetion”; Mino, Japan (Juror’s Award). 1996 “Useful Intentions”; Burlington Art Centre, Burlington, Ontario and Sheridan College, Oakville, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Co-author of “Mastering Cone 6 Glazes” a book on glaze stability, 2002. Ceramics Monthly, 2000. Ceramic Monthly. Craft News, Fusion, 1990. Claridge Collection Catalogue. Editor, Franklin Silverstone, 1991. Feature article, Ceramic Monthly, 1994.

Coffee Service with Five Cups, 1987

Collection of the Burlington Art Centre. Donated by the Volunteer Committee of the Burlington Cultural Centre to commemorate the Centre’s Tenth Anniversary, 1988.

27.0 x 85.0 x 17.5, Porcelain, glaze, oxidation fired

Ceramic tray with Coffee Pot and five cups and saucers; cups are perched on pedestal saucers and glazed in combinations of turquoise and dark blue and white; the tray has one side slumped and ruffled like a wave; the coffee pot is tall and cylindrical with a wavy rim and handle; spout is long, starts near bottom of pot and reaches above it; lid has a tall white finial.

Fire+Earth

Cup and Saucer, 1984 Tea Set, Undated Green Tea Service, Undated Collection of the Canadian Clay and Glass Private Collection. Private Collection. Gallery. Indusmin Collection on loan from Unimin dimensions unavailable, Porcelain, glaze, oxida- dimensions unavailable, Porcelain, wheel Canada Ltd. tion fired thrown and altered, oxidation fired

7.6 x 13.0 x 13.0, Porcelain, wheel thrown, turquoise matte glaze, oxidation fired

Yellow Tea Service, Undated Coffee Set, 1987 Private Collection. Private Collection. dimensions unavailable, Porcelain, wheel dimensions unavailable, Porcelain, wheel thrown and altered, oxidation fired thrown and altered, oxidation fired

Brief Biography 1970 Penland School of Crafts, Penland, North Carolina. 1971-73 B.F.A. University of Michigan, Ann Arbor, Michigan. Magna Cum Laude. 1977 Independent study in Korea and Japan. 1983-85 M.F.A. Rochester Institute of Technology, Rochester, New York. 1985-86 Banff School of Fine Art, The Banff Centre, Banff, Alberta.

Exhibition History 1988 “Rebecca Rupp: Tableware”; Ontario Craft Council, Toronto, Ontario. “Mad Hatter’s Tea Party”; Burlington Art Centre, Burlington, Ontario and Gallery Stratford, Stratford, Ontario. 1989 Dexterity Gallery, Toronto, Ontario. 1989 “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1990 Galerie Franklin Silverstone, Montréal, Québec. 1991 “Rupp and Gutteridge: Dual Perspectives” Harbinger Gallery, Waterloo, Ontario. 1996 “Useful Intentions”; Burlington Art Centre and Sheridan College, Oakville, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Ontario Craft, Summer 1988. Contact. The Magazine of the Alberta Potters Association. “What’s the Use?” Fall 1991 Fifth National Biennial of Ceramic Art. Trois Rivières Québec, 1992. International Exhibition of Ceramic Art. National Museum of History, Taipei, Taiwan, 1992.

Leda and the Black Swan, 1994

Collection of the Burlington Art Centre. Given in honour of Monika Wright from her friends and collegues at the Art Centre., 1997.

81.0 x 42.5 x 23.0, Red Earthenware, tin glaze, oxides

Large vase made of three sections of combined thrown elements to form the female torso; on one side Leda is drawn being attacked by the black swan-hair of Leda forms one handle, neck of swan forms the other; flowers are painted growing up on base; on other side a vase with black swans strutting across a white band, with acanthus leaves in a band around the top and bottom edges of the vase which is sitting in a field of tulips.

Fire+Earth

Selket, Goddess of Magic; or the Girls Sell Fleurs de Nuit Cubist Vase, 1999 Northern Ice Flow Crackle Jar, 2000 our Work at Sotheby’s, 1996 Private Collection. Collection of the Minneapolis Institute of Art. Collection of Alberta Foundation of the Arts. 45.0 (height), Terra cotta, constructed, maiolica 25.0 (height), Stoneware, wheel thrown and 72.0 (height), Majolica, fired to cone 04 altered, gas fired to cone 11

Iris Trailed Flattened Amphora, 2002 Persephone Kidnapped by Hades, 2002 Collection of the Artists. Collection of the Artists.

33.5 (height), Stoneware, constructed and 60.0 x 35.0 x 17.5, Terra cotta, constructed, altered, salt glazed, wood fired, feldspathic maijolica, fired to cone 04 stones, flashing slip

Brief Biography Carol Selfridge 1948 born Belleville, Ontario. 1965-69 B.A. and P.D.a D. University of Alberta, Edmonton, Alberta. 1977-96 University of Alberta (weekly studio figure drawing). 1979 The Banff Centre, Banff, Alberta Self Sufficiency-Pottery and Geology Workshop with Harry Davis. 1987-96 University of Alberta (watercolour, oil painting (figure) with Harry Savage).

Richard Selfridge 1943 born Seattle, Washington. 1962-73 B.A.Washington State University. M.A. Washington State University. Ph.D. (ABD) (Political Philosophy), University of Alberta. 1978 Banff Centre for the Arts (slip casting and mold making with Tony Franks). 1985 The Banff Centre (form and function with Wayne Ngan and Walter Keeler). 1987-96 University of Alberta (weekly studio figure drawing). 1997 Utah State University, Logan, Utah (three-week graduate course in wood firing with John Neely and Owen Rye). 1977 Carol and Richard began their collaboration.

Exhibition History 1987 Commonwealth Conference Selection Exhibition, Department of External Affairs; Cartwright Gallery, Vancouver, British Columbia. 1989 “Altered Antiquities-Illusionic Majolica Vessels”; Galerie Barbara Silverberg, Montréal, Québec. 1991 “Pottery: Endangered and Exotic Species”; Folio Gallery, Calgary, Alberta. 1993 “Celebratory Bowl” (group exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario. 1994 “XIV International Biennial of Ceramic Arts” (juried exhibition); Castel Museum, Vallauris, France. 1995-96 “Fireworks ‘95”; invitational exhibition organised by FUSION: The Ontario Clay and Glass Association, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre, Burlington, Ontario. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 1999 “Majolica and Wood Fire Summer Show” (invitational exhibition); Master’s Gallery, Calgary, Alberta. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Fireworks 2000” invitational exhibition organised by FUSION: The Ontario Clay and Glass Association; The Outreach Gallery, Ontario College of Art and Design, Toronto, Ontario. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “1st World Ceramic Biennale 2001 Korea (CEBIKO) - International Competition”; Ichon, Korea (Honorable Mention Ceramics as Expression). 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Aomori International Woodfire Festival Exhibition” (invitational exhibition); Goshogawara City Museum, Japan. “Our Creative Spirit” (juried exhibition); Alberta Craft Council, Medicine Hat Museum and Art Gallery, Medicine Hat, Alberta.

Publications Tin-Glazed Earthenware. Daphne Carnegy, Chilton Books. Ceramic Monthly, Ceramic Review, Fusion, Contact.

Four Black Birds, 1980

Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1991.

67.0 x 52.0 x 52.0, Clay, hand built and cast, mixed media

Four modelled crows in a burnt out building structure; two are bandaged and huddling in a corner; one is cawing inside the structure and the fourth is sitting on top giving the viewer a hard look.

Fire+Earth

Bottle, 1970 Chinook, 1974 Platter, 1978 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1984. Donated by Joan Murray, 1999. Donated by Aaron Milrad, 1999.

25.4 x 20.1 x 16.4, Stoneware, glaze 11.2 x 18.2 x 18.2, Low fire talc based clay, 4.9 x 53.2 x 53.2, White Earthenware, wheel underglazes, lustre, glazes thrown, altered, glaze, oxide

Stick Temple, 1983 Watch, 1986 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Purchased through a grant from the Walter Donated by Mr. Herbert O. Bunt, 1986. and Duncan Gordon Charitable Foundation and the Canada Council Art Bank Special Purchase 46.9 x 56.8 x 54.7, Porcelain, wood, oil paint, Assistance Program, 1986. glaze 67.2 x 87.0 x 103.0, Porcelain glaze, mixed media

Brief Biography 1937 born in Winnipeg, Manitoba. 1954-59 B.A. University of Manitoba, Winnipeg. 1961-62 University of Munich, Munich, Germany. 1964-68 Diploma of Fine Arts, Alberta College of Art, Calgary, Alberta. 1973 Archie Bray Foundation, Helena, Montana (summer session).

Exhibition History 1980 “Recent Sculpture”; University of Lethbridge, Lethbridge, Alberta. 1987 “Fourteen Years” Alberta College of Art Gallery, Calgary, Alberta. 1988 “Restless Legacies” (group exhibition); Olympic Art Festival, Calgary, Alberta. 1990 “Annemarie Schmid Esler”; Southern Alberta Art Gallery, Lethbridge, Alberta. 1992 “Acquisition/Inquisition”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Anne Marie Schmid Esler, Fourteen Years,” Valerie Greenfield, Alberta College of Art Gallery. “Fired Sculpture.” Illyas Pagonis, Art Gallery of Greater Victoria.

Covered Box, c. 1975

Collection of the Burlington Art Centre. Donated by Alice and Bernard Slavin, 1993.

3.0 x 6.0 x 6.0, Porcelain, wheel thrown, carved, celadon glaze

Round lidded box with flowering plant carved into lid, glazed with celadon at high temperature; glaze forms pools of darker colour where clay is carved, giving outline to flowers and leaves.

Fire+Earth

ROUND BOX WITH INCISED FLOWER LID, Tumbler, 1966-67 Covered Box, c. 1975 c. 1975 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Helen Beswick, 1994. Donated by Alice and Bernard Slavin, 1993. Donated by Patricia Rogal, 1993. 13.9 x 9.2 x 9.2, Porcelain, wheel thrown, crys- 5.5 x 9.0 x 9.0, Porcelain, wheel thrown, glaze, 4.5 x 6.5 x 6.5, Porcelain, wheel thrown, cela- taline glaze cord don glaze

Teabowl, c. 1975 Covered Cylinder, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by Alice and Bernard Slavin, 1993. 7. 3 x 8.4 x 8.4, Porcelain, wheel thrown, glaze 5.0 x 2.5 x 2.5, Cylinder (Liz Sinclair) Porcelain, celadon glaze; Lid (Lynn Wiggins) Silver

Brief Biography 1947 born Glasgow, Scotland. Studied in Glasgow. 1968-69 Sheridan College School of Design, Ontario. 1972 Awarded Indusmin Award for Porcelain. 1980 Ontario Crafts Council Québec Award of Excellence.

Exhibition History 1971 “Make”; Ontario Science Centre, Toronto, Ontario. “Ceramics ‘71”; Royal Ontario Museum, Toronto, Ontario. 1978 “Porcelain and Glass”; Ontario Potters Association. 1978-79 Ontario Crafts Council Travelling Exhibit; Toronto, Ontario. 1979 Art Gallery of Windsor, Windsor, Ontario. 1983 Thomas Gallery. 1994 “Recent Aquisitions ‘93”; Burlington Art Centre, Burlington, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Untitled, 1988

Collection of the Burlington Art Centre. Donated by Janet and Duncan McLauren, 1991.

36.5 x 85.0 x 18.0, Stoneware, hand built, oxides

Hand built vessel with keel base and kayak opening; heavily textured with vertical lines to look like bark layered or huge scales; plain rim and keel contrast with this textured body.

Fire+Earth

Untitled, 1991 Untitled, 1997 Full Circle, 2000 Collection of the Artist. Collection of the Burlington Art Centre. Collection of the Artist. Purchased through a donation from the Walter 80.0 x 45.0 x 20.0, Stoneware, hand built, and Duncan Gordon Charitable Foundation, 20.0 x 59.0 x 59.0, Earthenware, hand built, oxides 1997. glaze

118.5 x 29.5 x 16.0, Stoneware, hand built, oxides

Untitled, Undated Caldron, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre.

17.5 x 78.0 x 28.5, Stoneware, hand built, oxides 80.5 x 35.5 x 35.5, Stoneware, hand built, oxides

Brief Biography 1989 Diploma, Ontario College of Art, Toronto, Ontario. 1989-92 Artist in residence, The Craft Studio at Harbourfront, Toronto, Ontario.

Exhibition History 1991 “Abstract Sculpture/Vessel”; Burlington Art Centre, Burlington, Ontario. 1992 Art Gallery of Algoma, Sault Ste. Marie, Ontario. 1996 “Teachers, Mentors and Makers”; Ontario Craft Council, Toronto, Ontario. 1997 “Plate Tectonics”; Summer Courtyard Installation, Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. “Voyage: 9th National Biennial of Ceramics”; Trois-Rivières, Québec (Prix de la Ville de Trois Rivières). 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Toronto Star, September 23, 1990. “Fireworks 90.” Fusion catalogue.

Untitled, 1988

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communication, Province of Ontario, 1989.

137.0 x 59.0 x 21.5, Clay, glaze, wooden base, bolts

Hand built slab sculpture of an abstract form; round at top; centre is composed of a rectangular shape with a large hole and two horizontal slits on each side; lower part is square with squiggly lines drawn on it; this sits on a wooden base with four bolts; light-coloured clay is rubbed with dark oxides; some dark glaze is poured over top and middle parts; Chi is an old- fashioned very ancient, nice ax-or life-style; from a tiny picture taken of an archaeological find in China in the 1930’s; Mr. Smith made a series inspired by this picture-one larger and three smaller than this one.

Fire+Earth

Vase and Stand, 1987 Vase with Copper Collar, 1987 Untitled, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Private Collection. Donated by Ashton’s, 1988. 10.0 x 11.0 x 11.0, Clay, wheel thrown, Raku fired dimensions unavailable, Clay, found branch 48.7 x 21.0 x 15.3, Clay, glaze, lustre, Raku fired with forged copper collar fitted after firing

Untitled, Undated Kayak - Last Voyage, 1999 Private Collection. Collection of the Canadiana Fund, for place- ment in Rideau Hall. 4.0 x 36.0 x 36.5, Clay 33.0 x 68.0 x 20.0, Clay, wheel thrown and slab built, fibre-slip wrapping, stain and glaze, electric fired, bronze and stone mounting

Brief Biography 1933 born in U.S.A. 1971 Came to Canada. B.Ed. (Art) Pennsylvania State University. M.F.A. New York State College of Ceramics, Alfred University, Alfred, New York. 1982- Associate Professor, University of New Brunswick. 1992 Strathbutler Award.

Exhibition History 1988 “Tom Smith: Recent Work”; Ashton’s Gallery, Toronto, Ontario. 1989 Galerie Barbara Silverberg, Ottawa, Ontario. 1990 Ashton’s Gallery, Toronto, Ontario. 1992 “Out of the Woods”; Burlington Art Centre, Burlington, Ontario. 1995 Harbinger Gallery, Waterloo, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. “Strathbutler; The First Five Years”; Grand Opening, Canadian/ International tour. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Nine New Brunswick Artists in Mexico”, Workshops and Touring Exhibition. 1999 Peter Buckland Gallery, St. John, New Brunswick. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Life in Perfect Balance, 1989

Collection of the Burlington Art Centre. Donated by the Artist, 1996.

340.3 x 165.1 x 139.7, Figure: Talc clay, glaze; Ladder: Wood, hand carved

High sculpture with human torso made of white clay, arms outstretched to sides, head tilted back, hand carved wooden ladder with legs that resemble human legs in forward and backward positions, natural finish; pole held in mouth, on top of which is balanced a large white clay cup and saucer.

Fire+Earth

Coronation in Bloom, 1977 Tomb Man #1, 1986 Walking the Dog, 1987 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Donated by the Artist, 1987. Purchased through a grant from the Walter Donated by Mr. Herbert O. Bunt, 1988. and Duncan Gordon Charitable Foundation and 59.1 x 13.9 x 13.9, Earthenware, commercial clay the Canada Council Art Back Special Purchase 48.5 x 34.0 x 62.0, Clay, metal spikes, glaze pot, lustre, glaze Assistance Program, 1986.

186.5 x 50.4 x 50.0, Stoneware, oxides

Untitled, 1998 Blue Move, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Purchased through a grant from the Walter and Duncan Gordon Charitable Foundation, 1998. 91.0 x 18.0 x 25.0, Clay, hand built

104.0 x 104.0 x 8.0, Low fire talc based clay, spun fibreglass, glazes

Brief Biography 1950 born Caracus, Venezuela. 1951 Came to Canada. 1971 Central Technical School, Toronto, Ontario. 1970-71 Georgian College of Applied Arts and Technology, Barrie, Ontario (special ceramics).

Exhibition History 1985 “From a Vessel to a Man”; Leo Kamen Gallery, Toronto, Ontario. 1987 “Aleksandr Sorotschynski: Under the Moon”; Leo Kamen Gallery. 1989 “Tapestry and Sculpture” (two person show); Koffler Gallery, North York, Ontario. 1990 “Hartman, Fullerton, Sorotschynski: Myth and Meaning”; Georgian College. “Aleksandr Sorotschynski: Gallery Work”; Burlington Art Centre, Burlington, Ontario. 1997 “Recent Acquisitions ‘96”; Burlington Art Centre. “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. Summer Courtyard Installation; Burlington Art Centre. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications “Aleksandr Sorotschynski: Gallery Work.” Burlington Art Centre, 1990. Ceramic Monthly, 1979.

Bowl, c. 1984

Collection of the Burlington Art Centre. Purchased through a grant from the Walter and Duncan Gordon Charitable Foundation and the Canada Council Art Back Special Purchase Assistance Program, 1986.

15.0 x 70.0 x 70.0, Porcelain, glaze

Very large thrown bowl with broad rim; pattern drawn and waxed, glazed overall; drawing on rim represents potential combinations and centre shows selection in process, with link to outside crossing the line mark- ing the inner edge of the rim; overall has a molecular cellular look to it, drawn white against dark blue.

Fire+Earth

Flower Brick, c. 1965 Bird Bowl, 1976 Two Meanies on a Mountain, 1976 Collection of the Burlington Art Centre. Collection of the Burlington Art Centre. Collection of the MacKenzie Art Gallery. Donated by Mr. Glen E. Cumming, 1994. Donated by Patricia Rogal, 1994. Gift of the Artist.

34.4 x 26.7 x 12.1, Stoneware, slab built, glaze 7.4 x 18.0 x 18.0, Stoneware, wheel thrown, 57.0 x 57.0 x 8.3, Clay, oil, acrylic incised, glazes

Abacus, 1983 Pedestal Bowl, 1991 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of the Artist. Gift of the Artist.

41.5 x 127.7 x 21.2, Earthenware, sawdust fired, 42.0 x 50.5 x 50.5, Porcelain, glaze wood

Brief Biography 1934 born Brandon, Manitoba. 1957 B.F.A. University of Manitoba, Winnipeg, Manitoba (painting and printmaking). 1959 M.A. Michigan State University, East Lansing, Michigan (ceramics). 1960-61 Lived and worked in London, England, where he learned mold making, slip casting and production wheel throwing. 1961-62 Travelled in Europe and the Middle East. 1965 Opened the ceramics department at the University of Saskatchewan, Regina Campus (now the University of Regina), Saskatchewan. 1966 Canada Council Grant to Study in Japan. 1998 Professor Emeritus, University of Regina.

Exhibition History 1985 “Thresholds”; 4th International Ceramic Symposium, Toronto, Ontario. 1986 “New Canadian Sculptual Art” Halifax, Nova Scotia. 1987 “Clay Today: The Inaugural Exhibition of the Permanent Collection”; Burlington Art Centre, Burlington, Ontario. 1989 “The 2nd International Ceramics Competition”; Mino, Japan (Grand Prix). “Feat of Clay: The Fifth Anniversary of the Permanent Collection”; Burlington Art Centre. 1991 “Jack Sures: Recent Work”; Ashton’s Gallery, Toronto, Ontario. 1992 “Abstract Sculpture/Vessel”; Burlington Art Centre. “Acquisition/Inquisition”; Burlington Art Centre. 1995 “White on White: Contemporary Canadian Ceramics” (group, travelling exhibition); Canadian Clay and Glass Gallery, Waterloo, Ontario, The Canadian Embassy, Akasaka, Tokyo, Japan and the George R. Gardiner Museum of Ceramic Art, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. The Pottery Workshop, Central, Hong Kong (solo exhibition). 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Contemporary Prairie Clay”; Art Gallery of Southwestern Manitoba, Brandon, Manitoba.

Vase, c. 1985

Collection of the Burlington Art Centre.

25.5 x 43.0 x 19.5, Stoneware, wheel thrown, altered, oxides

Vessel that is also sculpture; form altered into abstract of human form- handles are tiny arms, head reduced to a cracked rim; burnt-out heart breaking through side of vessel; rough indication of legs at base.

Fire+Earth

16.0 x 14.5 x 14.5, Clay 16.2 x 8.0 x 9.7, Stone 9.8 x 2.4 x 6.3, Stone

Figure, 1982 Woman, 1985 Collection of the MacKenzie Art Gallery. Collection of the MacKenzie Art Gallery. Gift of Norman Zepp and Judith Varga Gift of Norman Zepp and Judith Varga

8.3 x 5.9 x 7.3, Stone 8.9 x 3.4 x 4.6, Stone

Brief Biography 1953 born Ottawa, Ontario. 1973 Vancouver School of Art, Vancouver, British Columbia. 1976 Carleton University, Ottawa, Ontario. 1978 Studied in Thailand and Japan. 1982-83 The Banff Centre, Banff, Alberta. Winter Cycle Master’s Program.

Exhibition History 1991 Ashton’s Gallery, Toronto, Ontario. 1992 “5th National Biennial of Ceramics”; Trois Rivières, Québec (City of Trois Rivières’ Prize). “Calendar”; The Craft Gallery, Ontario Crafts Council, Toronto, Ontario. 1993 “Boboli” Summer Courtyard Installation; Burlington Art Centre, Burlington, Ontario. “Into the Corners: A Look at In-depth Collecting”; Burlington Art Centre. 1994 “6th National Biennial of Ceramics”; Trois-Rivières, Québec. 1995 Prime Gallery, Toronto, Ontario. 1996 “Reshaping Tradition: Contemporary Canadian Ceramics in Asian Modes”; Royal Ontario Museum, Toronto, Ontario. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. “Jim Thomson”; Nancy Margolis Gallery, New York, New York. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. “Regatta”; Ottawa Art Gallery, Ottawa, Ontario. 1999 “Canada - Clay Today”; curated by Susan Jefferies for the George R. Gardiner Museum of Ceramic Art’s touring exhibition first shown in Amsterdam during “The Ceramic Millenium” conference. “A Grand Design” (multi-media installation); Victoria and Albert Museum, London, England. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. “Recent Work” (solo exhibition); Prime Gallery, Toronto, Ontario. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario. “Fire at Both Ends” (solo exhibition);Canadian Clay and Glass Gallery, Waterloo, Ontario.

Publications Sitting on Top of the World. Ontario Craft Magazine, Winter 1990-91. Jim Thomson: Vanishing Vessels. Work Seen, Artist’s Forum, Winter 1991-92.

Movement, 1989

Collection of the Burlington Art Centre. Purchased through a grant from the Ministry of Culture and Communication, Province of Ontario, 1989.

127.0 x 42.0 x 43.0, Clay, straw, low fire white lead glaze

Standing sculpture of branches made of coils connected to each other with smaller branches; in the upper two thirds the branches start to lean out and break away from each other; white glaze at base and top.

Fire+Earth

Untitled, 1998 Untitled, 2000 Lighting, Undated Collection of the Artist. Collection of the Artist. Collection of the Burlington Art Centre. Donated by Mr. Herbert O. Bunt, 1989. 25.0 x 33.0 x 5.0, Clay, Raku fired 32.0 x 42.0 x 5.5, Clay, Raku fired 14.0 x 72.0 x 71.0, Clay, white slip, black stain, white lead glaze

Untitled, Undated Untitled, Undated Collection of the Burlington Art Centre. Collection of the Burlington Art Centre.

46.0 x 50.0 x 34.0, Clay, white slip, black stain, 24.5 x 25.4 x 21.0, Clay, white slip, black stain, white lead glaze white lead glaze

Brief Biography 1958 born Daegu, Republic of Korea. 1977-81 B.F.A. Kyung Hee University, Seoul, Korea. 1981-83 B.F.A. Ceramics, Kyung Hee University, Graduate School. 1984-86 Alberta College of Art, Calgary, Alberta. 1987-89 Sheridan College, School of Art and Design, Oakville, Ontario. 1993 Returned to Daegu, Korea and began teaching at the Taegu Technical College.

Exhibition History 1986 Glyde Hall Gallery, Banff School of Fine Arts, Banff, Alberta. 1990 Dofasco Gallery, Dandas Valley School of Art, Dundas, Ontario. 1991 “Dongyoub Yang Ceramic Work”; Burlington Art Centre, Burlington, Ontario. 1992 “Acquisition/Inquisition”; Burlington Art Centre. 1993 “Bay Area Clay”; Burlington Art Centre and Mount St. Vincent University Art Gallery, Halifax, Nova Scotia. “Ninth Exhibition of the Taegu Ceramic Artists Association”; Taegu Crafts Council, Korea. 1997 “FIRE+EARTH: Contemporary Canadian Ceramics”; Burlington Art Centre. 1998 “FIRE+EARTH: Contemporary Canadian Ceramics”; Itabashi Art Museum, Tokyo, Japan. 2000 “FIRE+EARTH: Contemporary Canadian Ceramics”; Art Gallery of Nova Scotia, Halifax, Nova Scotia. 2001 “FIRE+EARTH: Contemporary Canadian Ceramics”; The Mackenzie Art Gallery, Regina, Saskatchewan. 2002 “FIRE+EARTH: Contemporary Canadian Ceramics”; Thunder Bay Art Gallery, Thunder Bay, Ontario.

Publications Ontario Crafts. “Bay Area Ceramists,” Joan McNeil, Summer 1993.

©2002. All rights reserved. I TABASHI ART MUSEUM | T HE BURLINGTON ART CENTRE | 171 Fire + Earth That Even Play with ‘Tradition’ rary Ceramic Exhibition-Modern Vessels and Molding” and presented Susan Low Beer. Works which would probably be bound to embody a traditional “functional” beauty if in Japan, appeared free of tradition in Canada. I was The readers may be puzzled by the fact that Canadian artists are at shocked at viewing “FIRE + EARTH: Contemporary Canadian Ceramic”, times introduced as American artists and vice versa. This is because because the works with traditional “functional” beauty had no trace of American artists teach in Canada or Canadian-born artists live in the destined dilemma between “tradition and innovation” prevalent in America. Exchanges are especially common among the universities Japan. I had the impression that “tradition” in Canada was even part of located on both sides of the prairies divided by the five lakes. Many romanticism or Orientalism. artists whose works are incorporated in the “FIRE + EARTH” exhibition shuttle between Canadian and American universities, spreading a web Itabashi Art Museum, in hosting “FIRE + EARTH,” had one request to the of influence. Burlington Art Centre; namely, that the exhibition be composed mainly of objects and clay sculptures. It was a natural request given the fact In terms of art education or the mastering of techniques, Canada has that our museum had a collection of avant-garde art and was known for much in common with the United States. However, Canadian unique- exhibitions of such works from the Taisho and Showa periods. ness is revealed in the art works regarding themes or creative ideals. One example is the apparent reflection of the way artists view “nature” Therefore, frankly speaking, I had some objections when I flew to Canada in the works, although the range of view is quite diverse. Victor last August and witnessed preparations for the exhibition in Burlington. Cicansky was introduced in Japan in the early 1970s as an erotic-type The number of functional pieces was more than I had expected. of artist as represented by “Shoes with Lips,” but in the mid-1980s he deepened involvement with nature as is shown in “Garden Ruin” (this I immediately asked Mr. Ian Ross, Executive Director of the Burlington time introduced in “FIRE + EARTH”). Art Centre, and Mr. Jonathan E. Smith, Curator of the Collection, to add three or four objects and sculptural pieces. Works with “Humour”

That evening, as I relaxed among the warm hospitality of the staff of the Sifting through the works in the “FIRE + EARTH” exhibition, I realized Burlington Art Centre, Volunteer Council and Members, I was also busily that many presented “humour” or “nature” to their viewers. Of course, thinking about how I should treat the “functional” works and how they the works vary widely and raise a multiplicity of issues. Many works should be introduced. share issues typical of contemporary art such as “sensual qualities of material,” “social and political views,” or “mutual influence of cultures.” I decided that it was lucky for the museum to be able to exhibit pieces However, I personally felt that “humour” and “nature” pierced through it was unfamiliar with. As I viewed the pieces of traditional “functional” the exhibition more deeply than these issues. Let me develop this point beauty over again, I noticed that they do not give a heavy or ponderous further. “Caricature” works with “humour” include David Gilhooly’s impression, unlike their Japanese counterparts. That realization led me impersonated frogs. Susan Low Beer’s “Landscape of Hysteria” also to understand that Canadian “functional” beauty, although it appears belongs to this field, appear to caricature the interactions between linked to tradition, is actually free of tradition. At least, I thought, the men and women. The battle between fried chicken and hamburger by works had no hint of tradition if this meant something binding. From Bonita Bocanegra Collins reminds viewers of advertising battles in the an “outsider’s perspective,” I believe this tradition-free state is one contemporary age. characteristic of contemporary Canadian ceramic art. This exhibition will be the first ever in Japan to provide and overview of Canadian ceramic “Humourous” works with a touch of “illusion,” including Agnes Olive’s art. However, the field has been introduced in small pieces in the past. “Muffled Teapot,” are interesting as trompe l’oeil, but they also raise Let me trace the history. Canadian ceramic artists were first introduced “social issues” and express “environmental concern.” In the “Muffler in Japan in the 1971-72 exhibition, “Contemporary Ceramic Art: America, Teapot,” in which the muffler of an engine is transformed into a teapot, Canada, Mexico and Japan,” held at the National Museums of Modern “humour” is based on the presentation of “similar forms with unrelated Art in Kyoto and Tokyo. At that time, five artists represented Canada, meanings.” The work nevertheless allows viewers to notice the artist’s including Marilyn Levine and Victor Cicansky. The next chance was in “environmental concern.” 1981. The Kyushu Ceramic Museum’s “Contemporary Ceramic Art in the World” covered Marilyn Levine and Victor Cicansky again. The following Furthermore, I felt “humour” because of “the reversal of value” in years, Kimpei Nakamura planned an exhibition called “Art and/or Craft- pieces that refused to be functional as a vessel. Among such works are U.S.A. and Japan” in which Marilyn Levine’s works were included. The Alain Bernard’s cups which cannot be used for drinking. This type of National Museums of Modern Art in Kyoto and Tokyo again covered Ca- idea may have had its derivation in Roy Lichtenstein’s “Ceramic Sculp- nadian artists in “The Evolution of American Art-The Eloquent Object” in ture #11” (1965), which welded cup and saucer together. Alain Bernard’s 1989, bringing pieces of Marilyn Levine and David Gilhooly. Three years work is different in the sense that its reversal of value is in visual terms. later, The Museum of Contemporary Ceramic Art in Shigaraki Ceramic Cultural Park had an exhibition titled, “Talkative Teapots”, where three Finally, I can point to Jim Thomson’s vase sporting human faces and Canadians including Paul Mathieu were introduced. Most recently, Aichi Alexsandr Sorotschnynski’s “Life in Perfect Balance” as examples of Prefectural Ceramic Museum in 1994 hosted “International Contempo-

©2002. All rights reserved. I TABASHI ART MUSEUM | T HE BURLINGTON ART CENTRE | 172 “humourous” works which have “liquidated meanings” by combining Victor Cicansky’s “Garden Ruin,” as the third type of work that show impersonation and materialization. “the state of nature.” Cicansky’s piece presents plants that appear to be dandelions or cabbages that have grown out of pillar remains. Like I do not know where the “humour” of “caricature,” “illusion,” “reversal all living things in the state of nature, these dandelions, like us, were of value” or “liquidated meanings,” as reflected in the various works, born destined to die. come from. Is humour the lubricating oil in Canada, which has a multiplicity of ethnic groups? Is humour embedded in the artist’s general However, “death” is part of “the reincarnation of life.” Plants blossom character to aspire for original creativity? One thing for certain is that and seed before they die, but the seed promises that the next life will the various types of “humour” have upgraded the quality and meaning come. “Cohabitating nature” on the precondition of death arouses a of the works. strong sense of “life” in viewers. I have thus presented “humour” and “the state of nature” as two major characteristics encompassed in the Works in “the State of Nature” contemporary Canadian ceramic art of “FIRE + EARTH.” Aside from the concepts that I have introduced – “caricature,” “illusion,” “reversal of Now let’s turn to “the state of nature,” another factor that I have found value,” “liquidated meanings,” “return to nature,” “nature from within,” prevalent in Canadian ceramic art. It is a wide-known fact that artists and “cohabitating nature,” – I am certain that many more can be found “revolted to earth” and pursued the image of “earth” itself as material in the works. I hope the viewers would take time to have a dialogue with while they shifted to create more works at one time during avant-garde each piece. domination of ceramic art. In Japan, Kazuo Yagi presented “Mr. Zamza’s Walk” in 1954 as an object that was not formed as a vessel. He was fol- The works are classified based on their primary impressions for the lowed in 1960 by Osamu Suzuki, Kiyoyuki Kato and Hikaru Yamada, who convenience of the Japanese exhibition. I want to remind viewers that created a series of works that highlighted “earth”in the forms of ceramic this is only one of the many ways to look at the works. plates like Isamu Noguchi’s terracotta sculptures. Their works somehow resembled clay figures of ancient times. They are roughly divided into the works that can be enjoyed “by looking,” and those whose joy is based on “the sense of touching,” that can At the same time in the United States, Peter Voulkos started creating be used, touched or have its surface felt. art works that appeared to be revolving around the “earth” against a backdrop of a “California clay rush.” The “visual” works have been further divided into spatial objects, picturesque objects and other objects. The works with “the sense of In the “FIRE + EARTH” exhibition, Steve Heinemann’s “Untitled,” Jenni- touching” have been divided into works with traditional “functional” fer Clark’s “Landscape Bowl,” Arthur (Micky) Handy’s “Aphrodite Yawns beauty, works with modern “functional” beauty and those with “non- III,” and Heather Driver Kerslake’s “Large Bowl” all developed the image functional” beauty. of “earth.” The creation of these works can be understood as an attempt to return to nature, symbolized by the image of “earth.” Finally, I would like to thank Mr. Jonathan E. Smith, Curator of the Col- lection, and Mr. Ian D. Ross, Executive Director of the Burlington Art There are other works that, at a glance, do not appear to be an attempt Centre, as Japanese curator. I am accustomed to over-focus exhibition to return to nature, but demonstrate a state of nature. One example is themes. Such an attitude conveniently fits the small space available Marilyn Levine’s “Two Tone Bag” whose theme, from a general point of and limited resources. If I had been asked to organize an exhibition view, would be hyper-realistic “illusion.” The artist presents “visual illu- similar to “FIRE + EARTH,” I hate to admit, I probably would have sion” by creating what appears to be a “leather” bag from “earth.” She excluded works of traditional and modern “functional” beauty with “the had even added detailed scratches to show that the bag is old. Shouldn’t sense of touching.” I would like to convey my deepest appreciation to we interpret the attitude of Marilyn Levine to create a series of used Messrs, Smith and Ross and to Canada, for reminding me that beauty is, leather goods like shoes and jackets as her caution against consump- indeed, relative. tion-based culture? Or is she just playing with image or being nostalgic? Maybe so, but when she turns the caution to others, it exposes her at- As a resident of Itabashi-Ku, I am honoured that I was given the chance titude toward life which is closely linked to the view on “nature.” to be involved in this exhibition.

The attitude revealed is different from that of Japanese artists who have consistently fought with “tradition.” Shinjin Ozaki Senior Curator Artists like Marilyn Levine, who realistically express “nature from with- Itabashi Art Museum in,” in contrast to Steve Heinemann who literally experiences “nature” by uniting with “earth,” are rare to find in Japan. Japanese artists fail to create works that transcend hyper-realistic “illusion.” Is this because Japanese and Canadians view nature in different ways?

Furthermore, there are works that present “cohabitating nature,” like

©2002. All rights reserved. I TABASHI ART MUSEUM | T HE BURLINGTON ART CENTRE | 173 “The Search for the Answer” York City into the wide open, rural fields of the prairies. But the ideas of the Modernists (as with all art styles) had become rigid as any of the Canada is a country that has lived other people’s history. This contradic- 19th century academic art styles which Modernism had been so eager tion is at the very heart of the way that Canadians see themselves. With to escape. the European discovery of the New World the English and the French came to claim and settle what they saw as empty space for the tak- In the 1960’s Canada was fully under the spell of the creative freedom ing. These two world powers, who had been adversaries for 600 years International Modernists defined as art. These ideas defined a certain at that point, brought with them their languages and their cultures truth, but they did not reveal the Canadian experience. One simple ex- and both fought to maintain them. At the time of Confederation both ample of Modernism’s understanding of ceramics was its relegation to cultures and languages were granted equal status in nationhood. As the level of craft, not worthy of the consideration of the name Art. Mod- Canada struggled to free itself from the overwhelming grip of these ernism had tried to cut itself off from the past, not realising that there forces, another cultural force more powerful and even closer rose up to is no future without a past. And as with all art movements, Modernism overshadow the idea of Canada as a country. was to be overtaken by new ideas, “Post Modernism” for the lack of a better name. Post Modernism had many of its origins in photography, The United States, the first country to be embrace a culture that was another medium that Modernism had tried to relegate to the status of based on scientific and technological change, quickly came to dominate craft for over a century. Post Modernism questioned many of the tenets the world stage. The United States, a country that speaks English (one of Modernism and called for a redefinition of Art. But one idea that the of Canada’s two official languages), and whose ethnic and cultural ide- Post Modernists did take from the Modernists was the right to question als were founded in Western thought, had and still has great difficulty what they considered art. This time however Modernism was ques- understanding that Canada is not identical to itself. Americans do not tioned. The notions of the media-based practices were redefined, and understand that Canadians wish to be seen as Canadians and not as the so-called decorative or minor arts, and the crafts were newly rec- Americans, even in the areas where the culture is shared. The irony of ognized as art. Photography, design (those ideas that previously were this can be seen if ones looks at the influx of American professors and called fashion or interior decorating), and the crafts (especially clay) artists from the 1950’s onward. These “new” Canadians encouraged were now to be considered and studied as Art. Before the 1960’s in the country, especially the young to be more Canadian. Canadians have Canada there had been the odd individual who had worked in clay as an most often reacted to this mix of conflicting ideals with definitions of creative production. These individuals often had been influenced by the ourselves not as who we are, but as who we are not. teachings of Bernard Leach, who had been inspired by the Japanese ceramist, Hamada. Clay had been seen as a mass produced, commercial Canada was in the shadows of three great powers in the 1950’s, when it product that was functional in nature (and it was better if it had classic gained enough confidence to step out from the role of follower into the eighteen century decoration said Wedgewood or Limoges on the bot- role of a country with its own voice. One of the first areas where this tom). But with the 1960’s came the first generation of individuals who happened was in the arts. Before this time Canadians had followed in looked at ceramics as modern and art. the steps of established imported styles, now we stepped forward and participated in the avant-garde (this period saw the establishment of What had helped push this idea forward in what was basically a conser- Canada’s leading theatre companies, the National Ballet, the Canadian vative country? Until the 1950’s Canada had regarded itself as a nation Opera Company and the expansion of existing and founding of new art with its origins in England and France. But waves of immigrants brought galleries across the country). For a country to have national style it must different styles and ways of doing things. This wave of new Canadians have moved on from a past where established ideas are imported fully came not only from Europe but from every corner of the world. Canada formed and copied to one where ideas are created anew. decided that each of the new groups should keep its heritage and add it to the whole, unlike America that thought of itself as a melting pot, For Canada this has been a particularly difficult task. For the art world A concept of multi-culturalism was adopted and even expanded as had moved beyond cultural ideals that trumpeted national charac- many other groups came forward to express their collective identi- teristics, to those founded on universal scientific ones. It must not be ties, women, gays, the handicapped, the elderly et cetera. This idea of forgotten that even French impressionism, which appeared to be based regarding the worth of all other cultures has helped Canadians really on the French appreciation of the good life, was based on the new look at their identity, particularity the long ignored participation of scientific ideas about the nature of light and optics. Twentieth century our own native peoples to the creation of this country. This influx of art has been driven by the ideas of finding universal truths more than by new ways of looking at life started Canadians on the search for who national characteristics. Canada as a progressive country has followed they really were, not in terms of who they were not - a search that these ideas, much as the rest of the world has followed them. The ideas still continues till today. These new groups who had chosen to become of International Modernism are now a language that is found globally, Canadians, while they kept their former identities, also wanted to know but it has shown its weaknesses by ignoring the local. In Canada while what made one a real Canadian. When the American-born artist, David the ideas were practised it still remained an idea from somewhere else. Gilhooly arrived in Regina, Saskatchewan, he gathered around himself a Even the famous Emma Lake Workshops in Saskatchewan that were group of young artists. He advised this group that included Joe Fafard, influential on the Canadian scene, were led by the American critic Clem- Victor Cicansky, Marilyn Levine and Ann James to forget what they had ent Greenberg who instilled the latest trends from the studios of New been taught in schools, especially those who had gone to the United

©2002. All rights reserved. I TABASHI ART MUSEUM | T HE BURLINGTON ART CENTRE | 174 States for their education. He told them to forget about trying to be The acceptance of multiple and what seems like conflicting outlooks Modernists and do what they were. This type of permission gave many as equal, would at one time be seen as schizophrenic. In a traditional, Canadians the chance to choose what and how they were going to make more homogenous culture, these multiple choices can seem to threaten art, without having to follow in others footsteps (a true Canadian charac- the established order, but in the heterogeneous culture that Canada teristic of making sure something is right before doing it). This could be has become, it is understood that a mixture of often contradictory ele- seen as an artistic outgrowth of multiculturalism It was at that time that ments creates a vital whole that consists of multiple realities. Canadians first started to seriously study the work of the First Nations people. The work of native artists such as Johnny Kavik stopped being The more one looks at the field of ceramics in Canada, the more one seen as an anthropological museum curiosity and started to be seen as can find artists working in the forefront of their particular artistic sculpture. For many people worldwide the first encounter with Canadian theory, often thought of as regional schools. From the hyper- realism art was Inuit carvings and original prints. Also the work of native peoples of Marilyn Levine’s “Two Tone Bag” to the contemplative nature of inspired other Canadians like Alexandra McCurdy, who drew inspiration Doucet-Saito’s “Vase” each school of thought is represented and val- from Nova Scotia quill work pieces which she then transformed into clay. ued. Yet is this all there is to the Canadian view of ceramics?

Choice to create what they wanted allowed artists to pursue their own If one looks at those artists who have chosen to become Canadians, personal dreams. Traditionalists like Harlan House and Ruth Gowdy they point out what forms the Canadian psyche. Canada while it is a McKinley worked to create functional objects of exquisite beauty. This modern urban society is haunted by the landscape and the weather. traditional approach to the work was not a static copying of the past, These two elements are so ingrained into the minds of Canadians that but an appreciation of the classic tenets of “beauty” which are continu- more often than not it is not apparent to the casual viewer. Even in the ously being reinvented and defined. Some wished to work in the style largest cities the wilderness is only an hour away. The immense size of of the avant-garde, such as the process driven work of Roseline Delisle. the country, the harshness of the climate can never be comprehended Some took a more political outlook on life and expressed their views until it has been experienced. This vast, often harsh landscape can in a particularly Canadian way, by using humour. This starts with the never be tamed by Canada’s small population. Canadians quickly learn anecdotal observations of Edouard Jasmin with their underlying moods that they are only a small part of nature, and as a result the national of nostalgia and fantasy. But just as common is humour that brims with spirit is turned toward inward contemplation when faced with the sharp social satire that looks at the world with unflinching eyes. Bonita outward reality. Bocanegra Collins’ “Big Mac Attack’s the Big Mac Attack Attacker” pokes fun at popular culture and its fascination with fast food advertising. Victor Cicansky’s work “Garden Ruin” seems to hint at the romantic Hidden in this mock battle between the products of two competing fast nature of classical ruins, speaking of cultures that have peaked and food giants, McDonald’s and Kentucky Fried Chicken, is the observation fallen. But in the cracks and seams of fallen columns the ever present of the difference between what is said and what is meant. Equally comic dandelion is alive and healthy, showing how even a relatively benign but also disturbing is David Gilhooly’s “Frog in an Over Stuffed Armchair, weed triumphs over all of civilization’s creations in the end. Aleksandr Seducing a Rutabaga”. From a title that deliberately confuses who is Sorotschnynski’s “Life in Perfect Balance” shows a ladder that turns doing the seducing, to the idea of glamourizing this lowly vegetable with into a human figure, the figure balancing a long pole with a coffee cup erotic overtones, the world of advertising is exposed as one of the follies on top, on his nose. The ladder is made from tree branches stripped of our society. of its bark to reveal the sensuous organic form and beautiful grain of the wood which gives way to the stiffer human form that is marked But the truly biting social satire is saved for one of nation’s most sacred with intersecting straight lines, that is then topped with the machine institutions - the sport of hockey. It is hard to tell whether Loraine made pole and manufactured cup and saucer. The further the thing is Basque’s “Hockey Pieta” or Robert Bozak’s “Hockey Sweater” is more removed from the ground the less natural it becomes and the more cutting. Basque has taken the Quebecois tradition of the roadside shrine precarious the situation becomes. and substituted a crucified hockey player for the figure of Christ. She has added two kneeling hockey players at the base of the cross in the Franklin Heisler’s “Bowl” which initially looks like an exercise in the tradition of classic European painting religious figures with adoring study of the medium, reveals within its sparse design of incised scrib- donors. While Basque’s work brutally makes fun of the fan’s devotion to bles and sprays of colour the perfect prairie landscape in winter with the game, Bozak with his realistic rendition of the skates, hockey stick blowing snow dazzling the eye as it is caught in the rays of the blinding and sweater of his own hockey hero, John Ferguson, mocks the notion sun. Even an abstract work like Steven Heinemann’s “Untitled” that that hockey is a still a sport, instead of being a business set up with the consists of a half sphere with two flat facets has been allowed to crack overtones of a religion. Institution like the Hockey Hall of Fame collects during the process and has had the facets eroded to reveal hidden pat- the objects used by players and turns them into relics, magic talismans terns much like the strata of the earth. Susan Low Beer’s “Landscape that one visits to pay one’s respect to our past glories. Bozak’s treat- of Hysteria” transforms the ongoing interactions of men and women ment of the work is telling, that even in his enthusiasm for the ideals of from social interactions to one of civilization versus nature. Low Beer’s the game, a Canadian can still be troubled by something. A Canadian Landscape appears at first plant-like, but on closer observation this in all firmly held convictions of life constantly questions is it right, is it object transforms into a multi-breasted female with visible buttocks proper, it fair? and pubic areas. The sublimation of the landscape pervades much of

In the nearly fifty years from the mid century, Canada has evolved from a country with little recognition of its own culture and way of seeing the world, to having a sophisticated view that encompasses the multiple realities that dominate a technological world culture. This change has involved major shifts in thought, including the recognition of ceramics as an art instead of a craft. Without having a preconceived model to follow, artists have fashioned an outlook that is strong enough to embrace changes as they happen. This view is stated in a nonemphatic manner that can be seen as reticent or detached. The work is not brash or aggressive in the way that American work appears to be (how Canadian to return to defining themselves in comparison to others). But the strength of these ideas is indicated by the wisdom that an aggressive attitude is not needed to prove its great validity. Canadians have learnt through multi-culturalism that loud promotion is not necessary with a valid thought. The cool, detached, often contemplative nature of Canadian ceramics masks the strength and vigour that the work embodies. This contains what is the essence of the Canadian spirit - the ability to create a vision out of diverging ideals. Canadians have learnt to look at their harsh climate and landscape and see overwhelming beauty, the power of nature has made them more contemplative, the corrosive power of politics and popular culture that prays on the emotions, is turned into the cool biting power of humour. This quality of balance in all things is the gift that Canadians have brought to their art and all that share in it. Canadians have learnt that their identity lies not in the definition, but in the search for it. Canadians must ever question their identity for it is constantly evolving. Our landscape and climate are the only things that are constant in our rapidly changing world. The search for ourselves requires that we move ever forward at the same time questioning the search itself. A hard task in contemplation, a wonderful adventure in the doing.

Jonathan E. Smith Curator of the Collection Burlington Art Centre