Art et Architecture

Studio Fall - Winter 2018 - 2019

Studio magazine brings the best of contemporary Canadian craft and design to a creative, curious and passionate readership. As the only national magazine dedicated to fine craft in Canada, Studio has a unique perspective on issues and developments in the craft world.

Ontario Crafts Council
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2 Numéros

dans ce numéro

2 min.
editors’ note

Holding your copy of Studio, we hope that you’ve already noticed the most exciting aspect of this issue: we have expanded to 80 pages! Thanks to fantastic support from the Jean Chalmers Fund for the Crafts through the Canada Council we have added space in order to present writing from the Canadian Craft Biennial 2017 Writers’ Residency. This expansion is temporary (for now), but we proudly dedicate this space to the inventive and hard work of the residents. You’ll see a variety of styles and approaches, and we hope you’ll welcome the range of voices brought into the exploration of craft and design. Look to page 41 for the backstory, and all the forward-thinking writing we have the pleasure to present. In this issue we also continue our consideration of Function…

4 min.

The memory of 1968 comes scented with patchouli oil. Incense. Burning herbs. The streets were coloured with bright Nehru shirts and love beads and the sparkle of youthful jewellery. But it was a year after the magical Summer of Love, and change was also in the air. There were demonstrations, political assassinations, and plenty of unrest. The year before, I had set off from La Glace, Alberta, for San Francisco but had ended up in Toronto instead; my best example of small decisions with big consequences. By the winter, I was making candles for the Head Shop in Yorkville, and by the spring, a partner and I owned it. We sold the range of rolling papers, pipes, incense, and psychedelic posters. When my wholesalers didn’t have what I thought we could…

2 min.
the iranian contemporary carpet

Undoubtedly, the Persian carpet is one of the most prominent forms of Iranian arts. A few fragments of this art form are found prior to the Safavid Period (1501-1732), with depictions and illustration of carpets from paintings helping us achieve an overall picture of the designs of the carpets from the past. Among all the historic periods, the Qajar Era (1779-1924) represents the most stylistic changes when it comes to the forms and contextual re-formations of the carpets. These include themes such as the depiction of the Kings from Abolqasem Ferdowsi’s Shahnameh: The Epic of the Persian Kings, as one of the examples formed on the Qajar carpets. But, what are the new designs of contemporary Iranian carpets? Compared to the past, contemporary carpets have undergone many stylistic shifts due to…

6 min.
the function of function in contemporary traditional sewing

Some notes from a conversation with the Kwanlin Dun Cultural Centre Sewing Group, transcribed and edited by Nicole Bauberger, and read back to the sewing group before publishing. The city of Whitehorse pursues its busy activities in the traditional territory of the Ta’an Kwäch’än Council and the Kwanlin Dün First Nation. The Kwanlin Dün Cultural Centre hosts this sewing group, which meets most Thursday nights. The sewing group often undertakes collective projects. They were assembling a large beaded panel for the Kwanlin Dun Cultural Centre podium when I dropped by to sew with them and write down this conversation. The sewing and beadwork artists whose voices you will hear in this article include Florence Moses, First Nation of Na-Cho Nyak Dun; Diane Olsen, First Nation of Na-cho Nyak Dun; Deb Enoch, White…

8 min.
heinemann’s clay continuum

One rainy day in the fall of 2006, I found myself walking down Dovercourt Road toward Queen Street West in Toronto. This was a time when ceramics weren’t even on my radar. I happened to glance in a shop window, and in the blink of an eye my world changed. Stopped cold in my tracks, I gazed intently at two somewhat oblong bowls—one black and one white—both checkered with the type of surface you might expect to find in an arid desert. They were virtually mirrors of each other, about the size of large mixing bowls. Something deep inside me shifted. I entered what I came to know as the David Kaye Gallery, and discovered the work of Steve Heinemann. It is in this context that I find myself thrilled…

6 min.
doug guildford working the shore

There is something about the shore, where land and sea overlap. Even those who have lived life landlocked are drawn to the infinite horizon, the many moods of the water, the rich air, the everchanging beach. It is a place of exploration and reflection. After years of living with one foot in Toronto, with a strong practice in drawing and printmaking, and the other at his summer place on the South Shore of Nova Scotia, Doug Guildford is about to make the coast his fulltime home. He now has a purpose-built studio and land that leads to the sea, through flourishing gardens and a stand of trees hosting some of his work. The studio is full of new, old and evolving work, a place where both art and artist live and…