Old Milwaukee

I'm sitting in the B&B at Pinecroft Centre for the Arts, waiting for my shift to stoke the wood kiln. - my fellow woodfirers are either on shift, wandering the property, or making lunch. So I thought I would take this much needed, FORCED down time to catch up on some blogging that has been neglected. (Sorry, again, for being such a brutal blogger).Last month was the 48th annual NCECA conference in Milwaukee, Wisconsin. For the third time, I flew down to the States to spend a week in a hub of clay related enthusiasm, education, celebration, and engagement. I finally got the chance to see Emily Schroeder Willis' work in person, purchase a few new pieces for my collection, and touch a LOT of pots. Some of the highlights for me included the National Juried Exhibition "Flow" that was installed at the Milwaukee Art Museum, the Gallery Expo (being able to touch pots is always a highlight) and the exhibition put on by the Archie Bray Foundation.


The week is magical, but I always leave NCECA with a mixture of emotions: inspired, motivated, depressed, frustrated, euphoric... the list continues. Experiencing such a large amount of clay work in such a small period of time is WONDERFUL in so many ways. Through looking at work up close and personal I can try to understand how they were made - what techniques of process were used, what conceptual ideas were at play. The opportunities to learn and discover are endless, helped along by the fantastic panel discussions and speakers.

For me, there is also a sadness that comes along with the territory. There are feelings of incompetence and failure, herded along by loneliness, "nobody-ness", and confusion. I leave the week with questions running through my head like a hamster on a wheel. They are cyclical, never ending:


What do I need to do to make work of this calibre? What skills do I need to learn? What level of education is most necessary? What am I doing wrong? Or right? and How can I feel comfortable with the work I make now, at this point in my life? How can I accept that growth is a process, and a long one at that?

When I come back from NCECA I feel a little empty, and at a loss for what I SHOULD make, and where I SHOULD be taking my career. I end up spending days cleaning the studio instead of making work. I organize my glazing area, I mop and soak the tables, I stack wood and water the plants, and pace. I stand in the middle of the room, with my hands over my mouth and pace, and stare.



TORONTO – April 4th, 6-8 PM Opening Reception

New graduates of Sheridan Ceramics present a collection of evocative objects that address function, storytelling, ritual and whimsy. Opening on Thursday, April 4th at the Gardiner Museum in Toronto (6 pm - 8 pm) the exhibition highlights the work of nine emerging artists in the field of craft and design:

Jenna Lanteigne, Jessica McEwen, Ellie Oram, Frieda Pereira, Andrea Poorter, Lyne Reid, Annemarie Row, Emma Smith, Amber Zuber

Three years of immersive learning and critical discourse at one of the leading Ceramics programs in the country has helped to shape the diverse practices of these individual makers. Meet the artists and experience the future of ceramic art - All are welcome at the show opening: April 4th 6-8 pm (FREE). During that evening, the winner of the Gardiner Award - $500 and an upcoming exhibition at the museum - will be selected and announced by a jury of Gardiner curators and Sheridan faculty.

April 4th – 18th Opening Reception: April 4th (6 pm - 8 pm)

Gardiner Museum 111 Queens Park TORONTO

About Sheridan Ceramics Recognized as one of Canada’s finest Craft and Design programs, Sheridan produces graduates who have received national and international accolades for their work. For over 40 years, the three-year intensive program has provided graduates with a strong foundation in studio-based approaches and an intimate knowledge of materials and technical processes that set them apart from other art and design professionals.

About the Gardiner Museum The Gardiner Museum connects people, art and ideas by offering a close look at one of the world’s oldest and most universal art forms - ceramics. The Museum’s collections span continents and centuries, offering a glimpse into the development of ceramic processes, decoration and form. Year-round the Museum mounts special exhibitions, events, lectures and clay classes to complement its permanent collection.