4 minute read
Fall 2016 - Discovery Gallery
Distil
Jenna Stanton
October 22 – November 26, 2016
Artist Reception: 2-4pm, Saturday, October 22
Ceramist Jenna Stanton has salvaged and saved favourite domestic objects for as long as she can remember. The forms and functions of these objects and the nostalgic sentiments around them work their way into her contemporary practice, into practical, clever and elegant designs for an array of ceramic household vessels and accessories. Reinterpreted and slipcast in porcelain, bone china and earthenware they are transformed by these historically precious or utilitarian materials and the eye and hand of a maker. They are hopefully seen with a new appreciation or recognised with a familiar feeling.
I have always been fascinated with why people collect. I have memories of specific patterns on wallpapers and dresses, various left out objects and I remember saving, hiding and protecting them for little collections of my own. I was being constantly asked “why would you want to keep that?”. Now, as an artist and curator, I have an official rationalization… for inspiration!
This exhibition showcases a selection of these favorite objects giving the viewer an inside glimpse into her design process and resulting ceramic collections.
Jenna Stanton (Medicine Hat) holds a BFA in Ceramics from the Alberta College of Art + Design and a Masters in Ceramic Design from Staffordshire University in ‘the potteries’ of Stoke on Trent, England. She currently works out of her studio in Medalta’s international artists in residence, exploring ceramics that combine traditional craft with industrial processes and new technologies. She is the Curator of Exhibitions and Collections at the historic Medalta Potteries, and a member of the board of directors of the Alberta Craft Council. Her designs have been exhibited nationally and internationally, most notably in FRESH, the 2011 British Ceramics Biennial’s flagship exhibition of top 40 emerging UK graduates, the London Design Festival 2015, and with FLUX at Maison Object Paris.
Material Witness
Dirk van Wyk
October 22 – November 26, 2016
My definition of craft is “the manipulation of material” and you’ll notice it says nothing about quality. I love finely made stuff but I’m not wired or trained to work that way. I also love so-called Folk Art, but due to my upbringing and education I’m ruined to claim that category.
My work has moved toward an emphasis on “craft” because I dislike the preciousness that tends to come with “art”. Bookbinding has moved my work from an exclusively visual experience, often behind glass, to one that includes touch. Adding the element of time with the use of covers and pages was a huge bonus.
In addition to material and manipulation, there are character and purpose. These four elements combine to be a craft object.
The character of a material is not only its physical limits and possibilities but also a personal preference of how to use and feature various elements. Character is the combined feel of the work; as an introduction, it speaks to the initial viewer’s likes and dislikes.
For me, the character of the material is a valued component of content. The physical limitations of the material are constant problems because I perversely insist on re-inventing established techniques. (Oh to be a traditionalist!) This is where I play and often fail, it's also where I like to think I communicate some intrigue.
Other content is essentially beyond words, which is why I do all this work. Titles and images are suggestions toward content, but I believe that the viewer should be encouraged to search and (hopefully) find content of their own making. These works are not diktat; think of them as adverbs rather than nouns.
Dirk van Wyk (Calgary) received his MA in Fine Arts, with a major in drawing, from the University of Calgary in 1970. Since then he has been teaching drawing, design, printmaking, visual communication, illustration, painting, and book binding in Calgary and the Middle East. He has a strong private studio practice and has done commercial and commission work for individuals and corporations across Canada. His work is in private and public collections, and he has participated in solo and group exhibitions locally, nationally and internationally. He has integrated learning and practice in many disciplines and continues to explore innovative methods for teaching and expression.
