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StudioStudio

Studio Spring - Summer 2018

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.

Country:
Canada
Language:
English
Publisher:
Ontario Crafts Council
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2 Issues

IN THIS ISSUE

access_time3 min.
editors’ note

Where do we start when talking about craft: with the object, with the maker, with the function, with the beauty? In this issue, these tempting starting-points are taken in different ways. As always, what we relish as we assemble the articles is rediscoverin;g the variety of identities, perspectives and approaches that exist in Canadian craft. It is these positively crossed purposes that make craft and design political and personal, advancing and preserving, functional and transcendent. From the moment the maker takes up an idea and looks to a material all the way to being long-finished and having retrospective exhibitions, craft and design embodies something of intangible history in its work, something of character in context. This is the functioning identity of craft. Jack Sures is our 2018 Bronfman winner and the…

access_time2 min.
atelier

The work of Dutch artist Anton Reijnders has always intended to both find the abstract within his medium—ceramics—and also make bold statements about the physicality of clay and form and the solid. He has been creating ceramic-based art since the 1980s and in 1991 founded the European Ceramic Work Centre in the city of’s-Hertogenbosch in the Netherlands. This has become one of the centres of ceramic development in the world—and Reijnders continues his association with this home base. His work however sees him travelling extensively, teaching and sharing his unique vision and interests. Reijnders was in Canada for the Craft Biennale and he has deep connections at Alfred University and UC Davis. Reijnders exhibits regularly around the world and his book The Ceramic Process is a celebrated volume that is…

access_time3 min.
craft council calendar

Craft Nova Scotia MARY E BLACK GALLERY Inflate: Catherine Allen May 18 – July 8 OPENING RECEPTION May 17, 6pm Catherine Allen invited a group of children to draw images of themselves and their family members. The jeweller then transformed these unique and striking images into a collection that captures the fanciful and revealing minds of children. Inflate continues Allen’s interest in forms that are ‘inflated’—metaphorically and physically—exploring her interests both in biology and the psychological spaces in which art is created. For Allen, jewellery is a reminder that the human body is first and foremost physical, no matter how that form is then filled-out with imagination and wonder. Craft Council of British Columbia Gallery Mountain Objects: collected, foraged and formed May 10 – June 21 Mountain Object Makers Cooperative is an artist run studio in Function Junction, Whistler, BC. The…

access_time10 min.
jack sures the constant vesselist

“The creative process, if it is creative, is evolutionary. It evolves but it evolves because you discover things and as you discover one thing you build on it, and it develops, and it grows, and it matures.”1—Jack Sures Precariously balanced on top of the lid of a ceramic jar, in an eternal are three mysterious porcelain creatures. What could this knob mean? Could this unassuming component of a functional vessel be a vehicle for a general artistic statement on ceramics and creativity? The black glazed vessel with expanded sgraffito is by the 2018 Saidye Bronfman Award winner, Jack Sures. Although associated with Saskatchewan, Sures was born in Brandon and spent his early years in Melita and Winnipeg, Manitoba. He studied painting and printmaking at the University of Manitoba under George Swinton,…

access_time7 min.
the making of an identity: sound from our forests

A sliver of gold, a fragment of wood, a bit of roof slate, nickel ingots, muskox horn… not the usual materials of the luthier. Under normal circumstances, makers of fine stringed instruments have a love affair with wood and the unique qualities each species lends to the voice of each instrument. Exotic species of woods, such as Indian or Brazilian rosewood, or mahogany for the back and sides, and Alaskan Sitka spruce are in most traditional luthiers’ supply rooms. ‘Tonewoods’ are those varieties that possess tonal properties that make them good choices for acoustic stringed instruments—softwoods for the top and hardwoods for the sides and back of the sound box. George Rizsanyi is a luthier who treads a different path. While he learned his craft in the shops of traditional master…

access_time5 min.
making made visible

As Miriam* talks, she turns a bisque-fired bowl in her hands. “You’re essentially working with mud, right? And it ends up being something. Pottery is proof. This is proof. It’s proof that I’m here… proof that I’ve created something and been productive.” Miriam is a member of Inspirations Studio, a program that helps marginalized women craft and sell ceramic goods for supplemental income. The two dozen women who use the Studio in Toronto’s west end have been impacted by poverty, homelessness, addiction, trauma, and mental health issues. For most women, participation in the program brings a sense of purpose, self-esteem, and dignity. Beyond the direct benefits to its members, the program also makes these diverse women and their labours visible in the craft market, and in the city. According to the Canadian…

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