Fall 2019 - Alberta Craft Magazine

ALB E RTA C R AFT CO U N C I L P U B LI CATI O N

S E PTE M B E R - D EC E M B E R 201 9

New and Renewing Members (as of August 1, 2019)

NEW MEMBERS Maria-Teresa Acosta, Calgary, Fibre & Mixed Media Lance Adamson, Edmonton, Wood Adam Adie, Edmonton, Glass Emily Aman, Calgary, Jewellery & Metal Jerry-Lynn Apsassin, Edmonton, Traditional Arts Violet Berland, Frog Lake, Traditional Arts Kim Burns, Millarville, Fibre & Paper Susan Cormack, Calgary, Fibre Fiona Coulliard, Calgary, Metal & Fibre Cody Cox, Calgary, Wood Blair & Sarah Dawes, Calgary, Clay Naomi Desrochers -Caron, Welland, ON, Traditional Native Craft India Dmytriev, Calgary, Supporter Bridget Fairbank, Grande Prairie, Clay Charley Farrero, Meacham, Clay Jessica Fern Facette, Edmonton, Fibre Ashley Fitzmaurice, Calgary, Glass & Fibre Danielle Fuechtmann, Edmonton, Fibre Sarah Griebel, Castor, Clay Sublime True Craft Artisan Market, Calgary Melvyn Herrick, Lacombe, Clay Jerry Hummelle, St Albert, Supporter Karen Jackson, Calgary, Suporter Angeline Lee, Entwistle, Clay Monique Martin, Saskatoon, Clay & Paper Karen Martinoski, Red Deer County, Fibre Kim McCollum, Edmonton, Fibre Ferry McConville, Edmonton, Supporter Tammy McDonald, Calgary, Fibre Veronica McGinnis, Edmonton, Fibre, Clay, & Wood Bill Morton, Calgary, Fibre Jana Norris, Calgary, Clay Christine Powell, Edmonton, Supporter Nicole Reidmueller, Lethbridge, Clay & Fibre Nurgul Rodriguez, Calgary, Clay & Paper Joanna Rogers, Pender Island, Fibre Karen Sabo, Supporter, Calgary Wendy Twin, Kinuso, Metal & Paper Kirsten Wagh Mitchell, Calgary, Jewellery & Metal Angela Weber, Saskatoon, Fibre & Mixed media Doug Zech, Calgary, Wood

RENEWING MEMBERS Robert Barclay, Spruce Grove, Clay Rose Bauer, Rocky Mountain House, Clay, Wood & Fibre Gary Burkholder, Beaumont, Glass Michael Calaresu, Edmonton, Clay Katrina Chaytor, Renews, Clay Lael Chmelyk, Calgary, Clay, Fibre, Leather Barbara Cockrall, Edmonton, Supporter Daniel Cohen, Calgary, Fibre Edmonton Potters’ Guild, Edmonton, Clay Jane Finley, Calgary, Fibre Hilary Forge, Calgary, Clay Pam Forsyth, Edmonton, Supporter Susan Fae Haglund, Calgary, Fibre Julya Hajnoczky, Calgary, Wood & Paper Pirkko Karvonen, Boyle, Fibre Robin Lambert, Red Deer, Clay & Wood Carlene LaRue, Sylvan Lake, Clay City of Lacombe, Organization Stacey Maddock, Calgary, Metal & Jewellery Deanna McGillvray, Canmore, Glass, Ceramics & Printmaking Vickie Newington, Calgary, Fibre & Glass Ilya Oratovsky, Edmonton, Fibre

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Gordon Pengilly, Calgary, Clay, Stone, Wood, Writer & Curator Connie Pike, High River, Clay Jennifer Salahub, Calgary, Craft Historian Natalie Sharpe, Edmonton, Supporter Sheep Creek Weavers, Calgary, Organization Brian Stearns, Edmonton, Supporter Herm Stolte, Calgary, Wood Eric Sundstrom, Calgary, Wood Judy Sysak, Calgary, Fibre Catherine Thomson, Victoria, BC, Fibre Catherine Tunis, Edmonton, Supporter Keith Turnbull, Edmonton, Clay Carol Voyt, Victoria BC, Clay Ilonka Wormsbecker, Edmonton, Pressed Flowers

RENEWING PROFESSIONAL MEMBERS Valerie Baber, St. Albert, Fibre Kalika Bowlby, Golden, Clay & Mixed Andy Brooks, Edmonton, Stone & Wood Susan Crawford, Calgary, Fibre Linda Chow, Calgary, Metal, Jewellery & Sculpture Sheila Fendall, Okotoks, Metal Natalie Gerber, Calgary, Fibre Janet Grabner, East Coulee, Clay Lisa Head Harbidge, Rocky Mountain House, Glass Michael J.C. Holton, Calgary, Wood Bonny Houston, Calgary, Glass Dianne Hove, Calgary, Clay Robert Jakobsen, Nanaimo BC, Wood Luc Josh, Edmonton, Wood Sharon Rose Kootenay Cherweniuk, Vilna, Fibre Loretta Kyle, Bonnyville, Stone Mike Lam, Edmonton, Wood Mary-Beth Laviolette, Canmore, Writer & Curator James Lavoie, Edmonton, Glass Wayne Mackenzie, Black Creek, Metal & Jewellery Megan Mackenzie Jones, Calgary, Metal Wendy McPeak, Ardrossan, Glass Terri Millinoff, Calgary, Clay Soma Mo, St. Albert, Jewellery Ezequiel Morales, Calgary, Clay Jill Nuckles, Calgary, Fibre & Clay Christine Pedersen, Calgary, Metal & Clay Pauline Pelletier, Quebec, Clay Darren & Deborah Petersen, Red Deer, Glass Anna Rasmussen, Red Deer County, Clay Julia Reimer & Tyler Rock, Black Diamond, Glass Dana Roman, Canmore, Fibre & Mixed Media Todd Safronovich, Edmonton, Glass Melanie Smit, Calgary, Metal John Smith-Jones, Calgary, Metal Stefanie Staples, Cochrane, Fibre & Paper Janet Stein, Lake Country, Metal & Jewellery Do-Hee Sung, Calgary, Clay Annette ten Cate, Medicine Hat, Clay Paul van den Bijgaart & Jie Yang, Edmonton, Glass Keith Walker, Edmonton, Glass Luke Weiser, Calgary, Mixed, Wood, Stone, Metal

ALBERTA CRAFT MAGAZINE The Alberta Craft Magazine is published three times a year. Submission deadline for January - April 2020 issue: November 15, 2019 The Alberta Craft Magazine makes every effort to ensure the accuracy of the information contained herein but assumes no liability in cases of error of changing conditions. Any business relation or other activity undertaken as a result of the information contained in the Alberta Craft Magazine, or arising there from, are the responsibility of the parties involved and not of the Alberta Craft Council.

ALBERTA CRAFT COUNCIL Main Office Edmonton: Monday - Friday 9am to 5pm 780-488-6611 OR 1-800-DO-CRAFT E-mail acc@albertacraft.ab.ca ALBERTA CRAFT GALLERY - EDMONTON 10186 – 106 Street. Edmonton, AB, Canada T5J 1H4 Monday – Saturday 10am - 5pm Open until 6pm on Thursday 780-488-5900 ALBERTA CRAFT GALLERY - CALGARY 1721 – 29 Avenue SW, Suite #280 Calgary, AB, Canada T2T 6T7 Wednesday – Friday 11am - 5pm Saturday 10am - 5pm 587-391-0129 STAFF Executive Director - Jenna Stanton, ext. 228 EDMONTON Gallery Shop Coordinator - Rael Lockwood, ext. 232 Operations & Exhibitions - Joanne Hamel, ext. 234 Fund Development & Special Projects - Saskia Aarts ext 231 Exhibitions & Memberships - Jessica Telford , ext. 221 Marketing & Design - Victoria Sanchez, ext. 231 Financial Officer - Wendy Arrowsmith, ext. 234 Gallery Shop Assistant - Felicity Bohnet CALGARY Gallery Shop Coordinator - Corinne Cowell Outreach, Events & Volunteers - Jill Nuckles Gallery Shop Assistant - Melanie Archer BOARD OF DIRECTORS Chair Tara Owen (Calgary) Vice Chair Dawn Deterando (Red Deer) Directors Mary-Beth Laviolette (Canmore), Dawn Saunders-Dahl (Canmore), Kari Woo (Canmore), Jennifer Salahub (Calgary), Meghan Wagg (Edmonton), Natali Rodrigues (Calgary), Kristofer Kelly-Frère (Calgary), Kayla Gale (Calgary, AU Arts Student Liaison) MAGAZINE Editor: Jessica Telford Contributors: Jenna Stanton, Dawn Detarando, Mia Riley, Dick Averns, Joanne Hamel, Corinne Cowell, Rael Lockwood Design: Victoria Sanchez

The Alberta Craft Council is a not-for-profit organization dedicated to developing Alberta Craft and the Alberta Craft Industry.

www.albertacraft.ab.ca

NEW PROFESSIONAL MEMBERS Shaun Semple, Sherwood Park, Metal

ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

FUNDING AGENCIES & SUPPORTERS

FROM THE EXECUTIVE DIRECTOR There’s nothing like a big birthday to get you thinking about the path we have traveled, the lessons learned, and the road ahead as we approach our 40th year as an organization.

I have been a part of the Craft Council since graduating in Ceramics at ACAD in 2003, with a brief stint away at grad school before returning to Canada and the Board of Directors. Time flies, it’s been a quick 17 years, and now looking back at my first year as the Executive Director has me thinking about sustainability in a few different ways:

Financially; last year was a challenging one, after challenging the AGLC and Minister of Finance to get our Casino back, volunteers happily worked their shifts in June. We engaged with a new funder, the Edmonton Community Foundation, who saw us through the deficit caused by the year’s gap in casino funding, and we are now eligible for increased funds from ECF. Our Calgary Shop sales continue to climb, but we are still about $60 000 away from breaking even in that location. We are hopeful that new funding available from an increase in Calgary Arts Development’s budget will bring us closer to a break even point in our second location. We have hired new staff in Edmonton to assist with fund development and fundraising events to get ahead of expected provincial funding cuts this fall.

Health; how do we keep a balance between inspiration, the never-ending to do list, and making sure there is enough time spent on other pursuits to stay healthy and inspired to bring your best self to work every day? (We’ll work on this one together). The capacity in our work is not limitless, but our creative passion and pursuits don’t always respect those healthy boundaries.

Legacy; how do we continue to ensure that Alberta’s rich Craft histories and traditions, and our contemporary Craft culture are able to thrive in this province? What does the landscape of Craft learning and support for our sector look

like in the next 5 to 40 years? As an organization, we have faced a few hurdles over the past year and decades, how do we adapt in the face of new challenges and political climates?

Membership; I am most excited about this one. A productive board retreat and a year of planning will see exciting new programs launched in 2020, with an increase in professional development initiatives and ways for our members and supporters to connect, learn and share their knowledge and passion for Craft. Collectively we have such an amazing resource within our membership and growing community of supporters - knowledge that we at the Craft Council look forward to mining and holding up as great examples.

Our Feature exhibition Re:consider has been curated to bring a range of perspectives on sustainability. From the materials used, to philosophies from the Craft continuum ensure skills and traditions are passed on to the next generation, to crafting sustainable communities supporting each other in our practices, and emerging fields of study in Craft and mental health.

We are actively engaging new partners and collaborators to share resources and expertise; head to page 5 to read about our new partnership and initiatives with CARFAC Alberta.

As we work towards creative strategies for a sustainable future, I know the stronger our connections and network are, and the more we share, the more resourceful and resilient we all are. My job is to be an enabler, creative schemer, connecter (and grant writer). I am excited at the prospect of creating space for our members and supporters to connect more often, to share and lift each other up, celebrate what we have accomplished, and where we can go. A

Jenna Stanton Executive Director

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NEWS This Issue

Join us in welcoming…

The Alberta Craft Council is delighted to welcome two new additions to the team. These strong creatives and arts administrators, will contribute their fresh new perspectives and vast skill sets as we build momentum heading into our 40th anniversary year and Craft Year 2020.

On the cover: Log Bowl Rainbow by Loyal Loot. 2018.

Solid wood logs (various species) from fallen trees/ wind breaks, sourced in Alberta. All pieces are dried without the use of chemicals and turned on a lathe.

Water based paint. Layered polyurethane coating.

Photo credit: Anna Thomas Learn more about Re:consider on Page 8 & 9

COVETED CRAFT PAGE 6 & 7

MEET THE MAKER PAGE 14 - 17

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MANY THINGS AT ONCE PAGE 10 & 11

ALBERTA CRAFT RECOMMENDS PAGE 20 & 21

Saskia Aarts

Rael Lockwood

Saskia has a BFA from the University of Alberta, an MFA from De Montfort University, in Leicester, UK and a Masters in Arts and Humanities from Akademie voor Beeldende Vorming in the Netherlands.

Rael studied Fashion Design at Ryerson University before moving to Calgary to complete a BFA in Fibre at Alberta College of Art + Design (AUArts), where she focused on weaving.

Saskia has been a staple in Edmonton’s art scene over the past 20 years, working as a curator for NextFest, a curatorial administrator at the Art Gallery of Alberta. In her career as an independent art consultant she has worked with individual artists on career development, as well as with public foundations and corporate clients on negotiating art projects, acquisitions, and collections management. Recent projects include art placement and commission projects for the University of Alberta Hospitals’ Kaye Edmonton Clinic, and building the Royal Alexandra Hospital’s Robbins Pavilion art collection. Saskia will be working with our Executive Director on fund development and events, as well as joining the exhibition team.

She recently graduated from the Arts and Cultural Management program at MacEwan University, while working at the Art Gallery of Alberta in Art Rentals and Sales. Rael brings her passion for promoting and selling craft and her many years of retail experience to her role at the Alberta Craft Council.

Fund Development & Special Projects

Gallery Shop Coordinator Edmonton

We also want to thank our summer Gallery Assistant, Heather Shepherd for her contributions to the Alberta Craft Council these past two months.

CARFAC Partnerships The Alberta Craft Council is partnering with CARFAC Alberta on a couple of exciting new initiatives.

Alberta Best Practices We would like to share with you the newly-drafted Alberta Best Practices for craft, media and visual artists. The Alberta Best Practices Project commenced in 2017, based on documents developed by CARFAC Saskatchewan. The project adapts these documents for use within Alberta’s arts ecology, and was undertaken to meet a clear need in Alberta for the establishment of Best Practices, to further professionalize and support our sector.

Best Practices are professional guidelines for interactions between artists and those individuals and organizations that work with them in a wide range of capacities. We have addressed initial key topics including contracts, fundraising, gallery relationships, juried exhibitions, and community art, and believe that Alberta craft, media, and visual artists will benefit from having these guidelines endorsed and implemented.

We value your input into these documents, and invite you to review and comment on them. Comments on these draft documents can be sent to chris@carfacalberta.com or you can join in the CARFAC Alberta engagement sessions on Saturday October 26, in Calgary, and Saturday, November 2 in Edmonton. We hope to see you there!

Visit www.albertacraft.ab.ca/best-practices to review the Best Practices documents.

NEW Professional Development Webinar Series Alberta Craft Council members get to listen for free to a new series of professional development webinars by CARFAC Alberta and Alberta Craft Council. The series pairs craft artists with visual artists to explore three topics.

Exhibiting at Festivals, Makers Markets and Pop-ups October 9, 2019

6:30 – 8pm

Kari Woo (artist, jeweller, designer and innovator) and Kim Fjordbotten (artist, art instructor, owner of The Paint Spot and Whyte Avenue Art Walk in Edmonton) will discuss ways to build your art business by identifying and optimizing opportunities.

Working Inside and Outside the System

(socially engaged practice, public art and commissions)

November 6, 2019 6:30 – 8pm

Dawn Detarando and Brain McArthur -creative duo also known as Voyager Art & Tile- will explore how to engage communities drawing from their experience designing and creating public art and private commissions.

A Deeper Understanding of Indigenous Craft and Art November 20, 2019 6:30 – 8pm

Ruby Sweetman (artist and Native Arts and Culture instructor at Portage College) and Tamara LeeAnne Cardinal (multimedia artist, community activist, and perpetual learner) will share how community members work together in a collective creative pursuit along with the meaning and intent found within an artwork.

Free for Alberta Craft Council and CARFAC Alberta Members RSVP to sharon @carfacalberta.com by webinar date Non-Members: $20 per webinar, purchase ticket on Eventbrite

SEPTEMBER - DECEMBER 2019 ALBERTA CRAFT MAGAZINE

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COVETED CRAFT Craft reminds us to slow down and appreciate the everyday, enhancing life’s simple rituals like that favorite mug for your morning coffee. This “Coveted Craft” features objects inspired by the forthcoming fall. Behind their creation, makers spend countless hours honing the design of objects to function seamlessly in our lives. The consummate Craftsman is always striving to improve upon their existing designs, spending their time in the studio in pursuit of that perfect handle, toasty glaze, or cozy combination of colours and materials woven into your winter blanket.

Craft is an expression of skill and material knowledge, and an important reminder to slow down and enjoy the simple pleasures in life. These small moments of wonder and appreciation are different for all of us.

We encourage you to find your moment.

With over 150 artists featured in our downtown Edmonton Shop and 65 artists in our Calgary Shop at cSPACE King Edward, the Alberta Craft Council has presented fine craft to visitors in a wide array of styles, techniques, and unique expressions of creativity for the past 40 years.

“Coveted Craft” is our in-shop feature where we showcase a selection of objects that we hope will inspire you to bring craft into your daily life.

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ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

Shop for these items at the Alberta Craft Gallery Shop in Edmonton & Calgary.

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Kaiseki plate by Akiko Kohana, $16 plate by Akiko Kohana, $30 3 Espresso cup by Jim Etzkorn, $30 4 Plates by Terry Hildebrand. $40 ea 5 Lidded Jar by Connie Cooper. $60 1

2 Sashimi

Opposite page: Throws by Bonnie Datta.

Ahimsa Silk Throw $240 Alpaca and Wool $200

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Sam Uhlick’s studio. Photo: Ryan Parker Photography

Alberta Craft Feature Gallery – Edmonton September 14 – December 24, 2019 Artist Reception: Saturday, September 28 from 2- 4 pm

PARTICIPATING ARTISTS:

Trudie Allen Melissa Jo Belcourt Richard Boulet Linda Chow Firebrand Glass (Julia Reimer & Tyler Rock) Evelyn Grant Crys Harse Doug Haslam Eveline Kolijn Loyal Loot (Doha Chebib Lindskoog & Anna Thomas) Irene Rasetti John Smith-Jones Ruby Sweetman Cathy Terepocki Sam Uhlick

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We are all in this together. The actions we take as makers and consumers have a major impact on future generations. The most effective and enduring forms of sustainability incorporate environmental, social and economic measures. Re:consider contemplates ways we can craft a sustainable future.

Many artists are achieving and exploring sustainability in holistic and thoughtful ways while working toward a greater good. Community building is a common thread interwoven in many craft artist’s practices.

As Julia Reimer of Firebrand Glass says of her contributions to a sustainable craft community: “It is one of the things I am proud of in my life when I see the skill and accomplishments of our former studio assistants because I believe that a strong and vital craft community makes my career and life better.”

Longstanding to Alberta indigenous artists’ holistic practice is a respect for materials and how they are gathered and utilized. There is cultural and community value placed on traditional knowledge, for those who keep it, and the passing down of skills and knowledge.

“As a cultural practitioner I take an active ethical stance in the production of my own work as well as passing on my knowledge to community members and students at Portage College, to contribute to a sustainable art community. I find practicing ancient art forms to be very healing for one’s health and well-being, it also gives one great pride in who we are as people and as a culture who is almost lost.”

Ruby Sweetman

ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

...there is a renewed sense of urgency to conversations around sustainability. It has many looking to how things were done in the past, before times of great excess, fast fashion, disposable goods and their environmental impact.

Sam Uhlick has been a full-time production potter for the past 50 years, creating over 50,000 pieces of functional pottery. Sam apprenticed under Michael Cardew, himself a student of Bernard Leach, who is considered the ‘father’ of the studio potters’ movement in the UK. Sam built his home/ studio and much of his own equipment, sourcing everything from reused industrial kiln bricks to scrap metal. He even creates his own clay body, processing three raw dry clays ordered straight from quarries. “I’ve purchased four B train loads or 120 tonnes of raw clay when I was about 26 years old and I have maybe enough left to last me to the end.”

To many makers, sustainability is an ethos that’s entwined throughout their practice, from the materials they use, to the processes and impact their creative choices make on the environment.

Makers have never had greater access to material, technology, and information and continue to explore craft traditions in new ways. New generations of makers are increasingly leveraging sustainability in their marketing and overall practice.

“I’ve always considered sustainability to be one of the cornerstones of my practice as a maker of wooden objects.

Wood is a renewable resource if it isn’t consumed at a rate greater than it can regrow. It means building in a way that is both structurally and aesthetically sound. A table can be constructed to last generations, but it will not survive long if its design is subject to short-term fads or if its visual or functional design is so ill-considered that nobody wants to keep it around.” – Doug Haslam Nowadays there is a renewed sense of urgency to conversations around sustainability. It has many looking to how things were done in the past, before times of great excess, fast fashion, disposable goods and their environmental impact. Craft has long traditions of being counter to mass-consumption and mass-produced goods.

Cathy Terepocki’s Chilliwack River Clay Series is an experimentation with making functional ceramics from the wild clay she collects by hand or shovel from various stops along the Chilliwack River near her home studio in Yarrow, British Columbia. Each clay body she sources comes with its own unique properties and technical challenges. The source is cleverly referenced in the simple and utilitarian stamps and decals revealing their geolocation. “The Chilliwack River Clay Series is as much about the materials as it is about the human connection to place. It is also an investigation into labour and industry and the positive role of technology in sustainable practice.”

With sustainability as the cornerstone of so many craft practices, there is ample ground to explore. Mirroring the reciprocity of ecological systems, we all play a role in achieving sustainability. Artists often act as instigators, investigators, and trailblazers. The featured artists are both creating a demand for sustainability and responding to an existing demand. Re:consider is sure to spark new ideas, conversations and even initiatives.A

“[it] is as much about the materials as it is about the human connection to place.

It is also an investigation into labour and industry and the positive role of technology...”

Cathy Terepocki

Chilliwack River Clay Series. Cathy Terepocki

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Many things at once curated by Mia Riley

Alberta Craft Discovery Gallery - Edmonton September 28 – November 9, 2019 Artist Talk & Reception: Saturday, October 5, from 2 - 4pm

PARTICIPATING ARTISTS:

Lux Habrich Logan Kenler Shaun Mallonga Mia Riley Mabel Tan Queenie Xu

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It is an exciting time as the world moves into a new era of cultural studies. The shedding of binary absolutes of how we define ourselves has lent to a more nuanced look at identity. Many artists of mixed cultural and social backgrounds are questioning the concept of ‘fitting-in’ as it relates to wholeness - arguing that identity is not a sum of distinctive parts but rather a fluid experience.

Many things at once is an exhibition that brings together six emerging Canadian artists working in clay.

Navigating the complexities of family history, cultural diaspora, language, migration and popular culture, these artists use the material of clay to reflect on identity and the sense of belonging.

The voices of these artists are distinct in their methodology, which creates an exhibition rich in conceptual dialogue.

While some works choose to address social and cultural barriers through universally understood concepts such as play, nature, and food – others, perhaps even simultaneously – look at failures or idiosyncrasies in navigating all sides of these barriers.

The artists in this exhibition create work that synthesizes many ideas based on their lived social, cultural and ancestral experiences. The title plainly describes the essence of our mixed identities and situates the work of the artists in this emergent time in their practices.

Each artist has different ties to Alberta, making this exhibition an opportunity to underline the shared migratory experience of many people in Canada.

In acknowledgement of the indigenous land we live on, and complexities of immigrant history, the artists in this show may not always have a clear definition of home.

While artists Mia Riley and Logan Kenler grew up in Alberta, Mia chose to continue her education at Red Deer College and the Alberta University of the Arts (AUArts) and is now living in Canmore, AB. She has created new work for the show that looks critically at the separate households she grew up in and focuses on the daily ritual of family meals. Logan, now based in

ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

Vancouver, went on to receive his BFA from Emily Carr. Logan’s vessels address representation and belonging, as the objects themselves become the liminal space to obscure concepts of function/ sculpture, masculinity/femininity, and eastern/western cultures.

Both Shaun Mallonga and Mabel Tan came to Alberta for the first time to also study at AUArts. After his studies, Shaun has been a significant member of the Dusty Babes Collective (Surrey, BC) and is currently a resident artist at the Harbourfront Centre in Toronto.

Sifting through the layers of his identity, Shaun creates narrative ceramic work that considers his connections to the Filipino, Canadian, queer and art communities as well as his own family history. Mabel is currently based in Calgary and will be working on an upcoming residency at the Arts Commons Ledge Gallery in the Fall. Growing up in Singapore, Mabel uses the memory of ceramic tiled playgrounds and her bilingualism to explore the concept of play.

Queenie (Kun) Xu is excited to be showing in Alberta to mark her fifth anniversary in Canada. During her first year of studies at Sheridan College in Oakville she was awarded a one-month residency scholarship at Medalta, a formative experience in her practice. Having moved from Jingdezhen, China, to attend school at Sheridan College, Queenie has had to find common ground in her approach to function and design as it crosses cultural barriers.

Montreal-born artist Lux Habrich will visit Alberta for the first time this year during a cross-country road trip. She has been based in Atlantic Canada since 2012, where she received a BFA from NSCADU and currently has a studio practice in Halifax. Lux’s self-portrait piece here again (preoccupations) seeks to open dialogue about the all-consuming nature of psychological and emotional despair and their ability to replace and distort one’s self-image and identity.A

- Mia Riley

Mia Riley is the first curator selected for the Alberta Craft Council’s new program, Curators in Contemporary Craft. The program gives a member the opportunity to develop their curatorial skills by developing an engaging fine craft exhibition with mentorship from professional curators and exhibition organizers.

Mia Riley has deep roots in Alberta, having grown up in Edmonton and her education and career taking her around the province to Red Deer, Calgary, Medicine Hat, Banff and Canmore. In curating this exhibition, she was inspired to investigate her own mixed heritage and developed new work as a result of the connections she has made with her fellow participating artists.

Top: here again (preoccupations). Lux Habrich Left: Let’s go to the Clayground. Mabel Tan

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The Butter

Dish

Alberta Craft Discovery Gallery - Edmonton November 16 - December 14, 2019 Artist Talk & Reception: Saturday, November 16, from 2 - 4pm Alberta Craft Gallery – Calgary November 9 – December 14, 2019 Reception: Thursday, November 14, from 5 – 8 pm

curated by Dawn Detarando

Butter is a versatile and delectable staple found in many kitchens around the world. As tastes, preferences, and scientific findings change, butter has made a comeback due to its superior flavour and as a healthy, heart smart choice.

No longer relegated to the recesses of cupboards, the vessels we use to store butter have made a comeback too, returning to countertops and tables all over.

The Butter Dish exhibition celebrates, the unsung hero that not only keeps this delicious spread at its optimal temperature and consistency, but is also a work of art. As unique as its maker, the possibilities are limitless, as object d’art it can be an expression of refined elegance, minimalism or even exuberant opulence. It can elevate a breakfast with home baked scones, accentuate the table at lunch with friends, or have a quiet presence on your counter.

Growing up I can remember four distinct butter dishes that we used in our home. The one most used for cooking and summer picnics was an opaque plastic flat top box that held one stick of butter. This was kept in the cupboard next to the matching sugar container and had that famous snap on cover for freshness. The second that we used for daily meals at the kitchen table was a basic utilitarian style, a white glazed, rounded rectangular dish with a lid that had a tiny button handle and a decal of a small flower on the side. Our family had two fancier covered butter dishes, one that was part of the white formal set of dishes given to my parents for their wedding and the fanciest of them all was the cut crystal butter dish that only came out of its hiding two times a year for Thanksgiving and Christmas.

Since then I’ve seen so many iterations of this utilitarian vessel. I myself have used everything from a simple plate, covered glass, ceramic dishes, a French upside-down butter cooler and the one we have now created by our very talented friends, Tom Aitken and Kate Hyde.

Burrow of Butter. Annette ten Cate.

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ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

Curated to be identical and run simultaneously in Edmonton and Calgary, The Butter Dish features the diverse work of 20+ ceramic artists who will show off their distinct creative voices while staying within the function of this traditional form. There is both narrative and abstract work, including accents with animals, landscape and nature while others will focus on the decorative use of clay and glaze applications to achieve rich textural surfaces.A - Dawn Detarando

Be the voice of contemporary craft.

Ceramics. Fibre. Glass. Jewellery and Metals.

AGLENNCO, Softly to Pip, detail, Jacquard weaving, 2019

head

Turn your thinking on its

AUArts.ca/MFA

AUArt’s MFA in Craft Media offers the opportunity to experiment and explore materials, processes, technologies, critical discourse and theory through creative inquiry that will expand and challenge perceptions of contemporary craft.

SEPTEMBER - DECEMBER 2019 ALBERTA CRAFT MAGAZINE

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MEET THE MAKER

An artist’s studio can serve as a refuge from the world, providing necessary time to reflect and contemplate but no matter how strong one’s preference for solitude is, we all need to engage with the larger world.

The connections we make with one another help us grow and flourish. No matter the stage of an artist’s career, from emerging to established, the communities we build for ourselves keep the spark of creativity alive.

Although the ways we communicate are in flux, our human need to connect remains as constant as ever. By sharing and exchanging ideas, we can find new ways to innovate and succeed. We’ve expanded our regular “Meet the Maker” column to feature several artists from different walks of life who are working to build and foster communities. We hope readers find their stories inspiring.

The Alberta Craft Council is grateful for our community of contributors to this column - a big thank you goes out to Dick Averns, the artists interviewed (MJ Belcourt, Linda Chow, Crys Harse, Richard Boulet, and Marilyn Olson), CARFAC Alberta, Edmonton Arts Council, and Alberta Craft Council staff.

Studio visit with MJ Belcourt

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ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

PASSING IT ON Melissa Jo (MJ) Belcourt has a rich Métis ancestry and possesses a wealth of cultural skills. She has dedicated her creative career to gaining traditional skills, then sharing and passing them on to future generations.

In her career, MJ plays many roles, as an artist, teacher, consultant, and an array of contract positions. She keeps herself busy and connected to many communities and projects where she continues to expand her practice, connect and share.

A deep connection to her roots is the inspiration for much of her artwork and ongoing research in developing an appreciation for the Métis contribution to our country’s culture. In 2006, MJ was invited to represent Alberta cultural heritage in Washington DC for the 49th annual Folk Life Festival and received the City of Edmonton Citation and Performance Award for it. She was the recipient of the Aboriginal Role Model of Alberta Art Award in 2009 for her work as an artisan and recognized cultural art instructor. In 2018 she received the Daughter of the Year award for her work in cultural arts.

MJ has learned traditional skills in making, ceremonies around sustainably gathering and preparing materials, and the significance of these traditions, from Métis and Aboriginal elders throughout northern and central Alberta.

MJ typically works in traditional Indigenous art forms including hide tanning, porcupine quill work, moose hair embroidery, and post-contact Indigenous art forms of tufting and fish scale art.

She learned the traditional Cree art of hide tanning from the late Elsie Quintal, who practiced the artform into her 80s.

“Her teachings gave me a foundation and the confidence to make anything out of hide. It could be something very utilitarian, wearable, or something you can hang on a wall. It has versatility and I prefer to do it the old way, without chemicals; fleshing, scraping, soaking, smoking the hide, there are a lot of steps and hard work involved in this art form.”

“It’s a process from raw natural material to a transformation into beauty, I think that’s where the fascination and inspiration is. These are very old techniques and art skills, and there is so much more to learn and to master.”

A certificate instructor course in Native Cultural Arts (offered through the former Alberta Vocational College in Lac La Biche) provided MJ with an introduction to Indigenous art techniques. Since then, she has taught traditional decorative arts and creative skills within the Native Cultural art programs on Native reserves and Métis settlements, and taught for five years at Portage College Native Arts and Culture Program in Lac La Biche. She takes great pride in seeing her students flourish.

“Blood memory is the genetic connection to the teachings of our ancestors, it’s the idea that we carry ancient memories in our DNA.” Much of the artwork and teaching MJ does bridges historical with contemporary practices. Her contract work takes various forms, from museum work to film and television. Recreating garments and objects have provided her the opportunity and time to dedicate to research in the Royal Alberta Museum collection. In looking at museum archives, objects, and photographs through the eyes and hands of a maker, she has played an important role in recovering and rediscovering lost techniques.

During the residency, MJ is also creating workshops and programs to further share her knowledge. “I think this is a great opportunity to branch out as an artist, and see what the city has to offer, I want to have more of a voice as an artist and use this residency as a platform for that voice to continue on with what I do in promoting traditional cultural arts.”

Teaching and the passing of knowledge is ingrained in so much of what MJ does.

She feels a strong connection to her ancestors and the idea of sustainability is so much more than the material she uses. “It’s awakening blood memories that I believe have drawn or led me naturally to this art form and passing it on. ‘Blood memory’ is the genetic connection to the teachings of our ancestors, it’s the idea that we carry ancient memories in our DNA.” “It’s important to me to mentor others.

I like to work with younger artists, who are eager to learn and to pass on these skills. There are few of us that still do traditional arts and I think it would be wonderful to maintain them. My plan is to start a mentorship program.”

“The Elders have told me that art is spirit, so in a way we are art itself. Art is that close link that we have to the Creators, and it is the gift of creativity that we have from the Creator that our art shines through.”

MJ is currently the City of Edmonton’s second Indigenous Artist in Residence (2019-2020). The Indigenous Artist-inResidence program is inspired by other Artist-in-Residence programs at the City of Edmonton but approaches the program through a partnership between the Edmonton Arts Council, the City of Edmonton Indigenous Relations Office, and Indigenous artists and knowledge holders. The paid residency allows the MJ to dedicate time for the creation of new works which will culminate in a solo exhibition at the end of the yearlong program.

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COLLABORATION AS A PATH TO SUSTAINABILITY Some artists work independently, and others in groups. Neither approach is right or wrong and both can be generative in producing strong creative output. Of course, some artists love the isolation of solo studio practice yet being isolated can also throw up its challenges. In probing this topic, I’m pleased to interview Richard Boulet and Marilyn Olson, artists and co-facilitators at the Textile Arts Open Studio, a Peer Connections program at the Canadian Mental Health Association Edmonton.

DA: What sort of benefits have you noticed since you started working collaboratively, and conversely, what sort of drawbacks are there?

MO: Advantages are fresh ideas, somebody to bounce ideas off. Disadvantages can be with communication and being very careful to avoid overlap. Richard and I also meet once a week outside the group to work on our personal collaboration and look at the pieces and discuss changes. We met through the Textile Arts Open Studio after I heard about it from my doctor and have now been working as a pair for six-nine months.

MO: My background is really in garment construction and I think a big part of being self-taught is that I don’t have to conform to the art box: I’m bringing in fresh ideas and Richard is helping me fulfll those ideas and how we accomplish them.

RB: I feel I’m learning as much from Marilyn as she’s learning from me.

Y’know Dick, Marilyn is the right kind of person that has the right kind of skill and ethics for this time in my career, but we need to think long term and take it one step at a time.

DA: But in terms of broader collaborations that are linked to the Textile Open Arts Studio, how does this factor?

RB: With the Studio a number of us have lived experience with mental illness, so we bring a shared value for sustaining wellness. Marilyn and I are group leaders and co-facilitators for the Studio and Peer Connections Program at CMHA Edmonton, from which there’s value in fostering a safe mental health space. And of course the art! People can express their interests in textiles in a traditional or artistic fashion. We share group knowledge. Everyone is valued as a source of experience.

He must eat his apocalypse. Richard Boulet

Dick Averns: How does collaboration help create a sustainable practice for you and your collaborators?

Marilyn Olson: I think the collaboration allows us to trade expertise, it’s complementary, Richard is a great teacher, and until I met Richard I hadn’t considered myself an artist.

Richard Boulet: It keeps my own creative instincts fresh, I don’t have to rely on my own methodology and can react to other’s unique contributions. As far as community goes I feel I have an opportunity to give back and feel that I genuinely find benefits for my mental health by belonging to the group, both creative and social. Our group facilitates mental wellness and/or personal recovery on a drop-in basis. Weekafter-week attendance is not necessary, which also helps activities evolve.

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RB: It’s a learning curve for both of us.

We have our first collaborative exhibition at the University of Alberta Hospital’s McMullen Gallery in spring 2020. This will help sustain our practice as there will be CARFAC fees.

MO: A lot of firsts for both of us and we need to recognize that, for instance it’s my first gallery exhibition.

RB: ...And it’s a first for me in supporting Marilyn as a newer artist. I’ve exhibited widely including at the Textile Museum of Canada and most recently the 2017 solo show you [Dick] curated, R A G E – H O P E at Nickle Galleries. We’re starting to talk down the road from the McMullen show; it’s exciting to talk more about what could happen next.

DA: I’m interested in how working with trained artists and self-taught artists is of value?

ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

The values articulated in this interview, particularly community support and collaboration, are clearly contributing to success for these artists. What stands out for me, as interviewer and an artist who has undertaken many projects broaching wellness and the arts –including public art, social practice, writing and curating— is that Richard and Marilyn have a healthy process as a foundation for making their art.

To sustain one’s practice requires the ability to flourish as a person. Dr Corey Keyes notes that flourishing can be fostered in individuals by “learning, playing, interacting, connecting and helping.” You will note that Richard and Marilyn do all these things. “By engaging in these factors on a regular basis, you can increase positive mental health, despite the presence or absence of mental illness.” A - Dick Averns is an artist, writer and Engagement Coordinator at CARFAC Alberta.

Studio visit with Linda Chow and Crys Harse

EXCHANGE OF IDEAS

CC: What measures do you take to be sustainable?

Linda Chow and Crys Harse are longtime studio mates and the co-founders behind Arts Inform-All in Calgary. This summer, they sat down with Corinne Cowell (Calgary Gallery Shop Coordinator) to discuss their studio practice and how Arts Inform-All began,

CH: My studio has superior insulation and in floor heating, a rain collection barrel and I use as much recycled material as I can find. I also work as non-toxically as I can by investigating other methods of working, which often leads to new and exciting results. I promote sustainability through my teaching methods and language whenever possible.

Corinne Cowell, Alberta Craft Council: What type of work do you create?

Crys Harse: I’m a metalsmith and I mix humour with metal. I like to use recycled materials as much as possible along with found objects like bone, wood, industrial parts, and other materials like leather, handmade paper, basket making materials, and glass. I’m inspired by the found objects and like to reference history and geography. I’m also a basket maker and instruct classes in basketry and metal.

Linda Chow: I consider myself a metal artist. My work is about the ecosystem and the things that are disappearing like the prairie frogs and birds – the indicator species, the things that are revealing our environmental challenges. My work starts with an idea and then evolves with the materials. I also make high end jewellery and repair custom pieces.

LC: I remake jewellery from existing pieces, reworking the stones and metals into something new. My hats are all made from recycled kitchen utensils and cookware. As well my subject matter of the endangered species and discussions on the environment.

CC: You also deal with sustainability in terms of fostering craft community and support for artists with Arts Inform-All...

CH+LC: Yes, it’s a group of interdisciplinary artists who meet once a month to discuss their work, art practices, and opportunities.

This collaborative environment allows a cross-pollination of ideas and materials discussion to influence and inspire innovative work. We have also taught classes for many years, mostly through continuing education both at AUArts and at the Red Deer College Summer Series

and we saw a need for such a group. Our intention was to provide a gathering for multi-disciplinary artists to show and share their work, discuss problems and successes and to be able to tap into a diverse knowledge of media that they wouldn’t normally work in.

CC: How has this group evolved? What are the benefits of participating?

CH+LC: We started out as a metal arts forum in our studio but as it grew and diversified, we expanded to external venues. We are sustained through the energy and participation of our membership. The sharing of knowledge and constructive feedback allows for artistic growth, problem solving discussions, validation, and critical discussion of the work as well as its presentation. Products, tools and knowledge are freely exchanged, which is getting rare in our world today. We often fall down rabbit holes of fascinating new possibilities.

Membership is open to all artists at no cost.

(Our partnership with the Alberta Craft Council, means we have space for the/our group to meet.) Group members receive a monthly newsletter featuring meeting notes, current shows, and events throughout the community. We also engage in studio and museum tours and host speakers of interest. A

How to Get Involved: We invite Alberta Craft Council members to join this community of interdisciplinary artists to discuss your work, art practices, and opportunities. Join the conversation at cSPACE King Edward on the first Wednesday of every month from September through June 2020.

It’s free to join and artists of all mediums are welcome.

Connect with @Arts Inform-All on Facebook or email artsinformall@gmail.com for further details.

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Late Night Holiday Shopping

WHAT’S ON ALBERTA CR ALBERTA CRAFT GALLERY EDMONTON 10186 106 Street NW Edmonton, AB

The Alberta Craft Gallery - Calgary & Edmonton will be open late just for you!

Join us on select Thursdays and do all your gift hunting with us.

(We gift wrap too!)

Open until 8pm on: Calgary November 14 & December 12

Edmonton December 5, 12 & 19

Feature Gallery Re:consider (Page 8 & 9) Crafting a sustainable future September 14 – December 24, 2019 Artist Reception: Saturday, September 28 from 2 – 4pm

Discovery Gallery Many things at once (Page 10 & 11) Six emerging Canadian ceramic artists whose work navigates the complexities of mixed cultural identities.

September 28 – November 9, 2019 Artist Talk & Reception: Saturday, October 5 from 2 – 4pm The Butter Dish (Page 12) A butter dish extravaganza featuring over 20 Canadian ceramic artists.

November 16 – December 14, 2019 Artist Talk & Reception: Saturday, November 16 from 2 - 4pm

GALLERIES CLOSED ON: The Alberta Craft Gallery - Edmonton & Office will be closed from December 25 to January 5.

The Alberta Craft Gallery - Calgary will be closed from December 22 to January 7.

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Join us at the Alberta Craft on September 27 & 28 and p the province during Culture celebration of our heritage,

Visit our website for compl

To learn more about and fin

N AT THE RAFT COUNCIL ALBERTA CRAFT GALLERY - CALGARY 1721 29 Avenue SW, Suite 280 Calgary, AB

Coming Up Next A cross-section of up-and-coming craft artists in Canada creating distinctive and innovative work.

August 31 – November 2, 2019 Artist Talk & Reception: Saturday, September 7 from 2 – 4pm The Butter Dish (Page 12) A butter dish extravaganza featuring over 20 Canadian ceramic artists.

November 9 – December 14, 2019 Artist Talk & Reception: Thursday, November 14 from 5 – 8pm

Second Thursdays | Spotlight Join us at cSPACE on the 2nd Thursday of each month from 5 – 8pm for a series of special events. Meet featured artists and visit other open studios.

September 12: Salty Sea Dog Designs, Ceramics October 10: Benjamin Oswald, Ceramics

Gallery - Calgary & Edmonton for Culture in the Making participate in the celebrations occurring throughout Days 2019 - the province and the country’s largest arts, community spirit and cultural diversity.

lete event details and most current event information.

nd other events near you, visit www.CultureDays.ca.

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CELEBRATE WITH US! Join us at our annual fundraising parties to toast the season in great company! Toe tapping music, festive drinks, delicious bites, and a silent auction will accompany incredible holiday shopping with chance discounts of up to 35% LET IT SNOW Calgary | Saturday, November 23 from 7 – 11pm

‘TWAS THE NIGHT Edmonton | Saturday, November 30 from 7 – 11pm

tickets $20 - Members | $30 - Guests $40 - at the door Purchase tickets online, in-person or by phone.

Proceeds from this festive evening support Alberta Craft Council programming and member services.

more info: www.albertacraft.ab.ca 1-800-DO-CRAFT SEPTEMBER - DECEMBER 2019 ALBERTA CRAFT MAGAZINE

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AROUND ALBERTA Noteworthy craft exhibitions, events, and more

This Art Makes me Feel… 2019

On at McMullen Gallery, Edmonton from October 12 – December 1, 2019 In celebration of the collaborative relationship McMullen Gallery shares with the Alberta Foundation for the Arts (AFA) since the gallery’s inception in 1986, they will partner for a second time on This Art Makes Me Feel… 2019. Art works have been selected from the AFA Art Collection that include textiles and ceramics.

With This Art Makes Me Feel…, further insight into the impact of art works in the health care environment is gained by encouraging visitors to provide immediate responses via post-it notes beside each piece. Various Alberta artists are featured in the exhibition.

This exhibition includes Passion Over Reason / La passion avant la raison by Mark Clintberg, created by Fogo Island Arts in partnership with the artist, Winds and Waves Artisan’s Guild, the Fogo Island Inn, and the Shorefast Foundation.

Passion Over Reason / La passion avant la raison conceived and designed

by Mark Clintberg, made by the Winds and Waves Artisan’s Guild. 2014.

Fabric, thread. Collection of the Alberta Foundation for the Arts.

“This project is a reply to the pivotal Joyce Wieland works “Reason Over Passion” and “La raison avant la passion.” It also engages with Fogo Island’s vibrant legacy of quilting, the social entrepreneurial model of the Shorefast Foundation, the Fogo Island Inn, and the Fogo Island Arts’ creative engagement with local community through a series of artist’s residencies and other programs. It builds on the artist Yvonne Mullock’s research about fabrics, quilts, and local aesthetics on Fogo Island, and it uses many fabrics that she sourced in her research.”

Jeffrey Gibson: Time Carriers

On at Esker Foundation, Calgary from September 28 - December 20, 2019 Time Carriers conjures a vision of many hands providing a framework of support, a fluid utopia where trust and movement go hand in hand. It evokes a time frame that both unites and collapses present, past, and future into an undulating and responsive single unit, something that could best be described as community or family. This idea seems especially appropriate when considering Jeffrey Gibson’s work, as it has always pushed to create kinship among unlikely partners.

Gibson’s artwork intermingles elements of traditional Native American art, art historical references, craft, and pop culture. A wide range of both historic and contemporary Native American symbols and objects including powwow regalia, 19th century parfleche containers, and drums are seamlessly merged with elements from Modernist geometric abstraction, Minimalism, the pattern and decoration of traditional textile practices, as well as techno, rave, and club culture.

Nep Sidhu: Divine of Form, Formed in the Divine (Medicine for a Nightmare), curated by cheyanne turions will also be on at the Esker Foundation. Nep Sidhu is an interdisciplinary artist whose practice is concerned with the reverberations of form, antiquity, myth, and history with an affinity for community. Through material investigations that use textiles, sculpture, video and sound, Sidhu’s work seeks moments of knowledge transfer.

Photograph by Caitlin Mitchell for the exhibition Jeffrey Gibson: This Is the Day. Courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

Work by Alana Bartol

Ecology is: Human | Nature On at Art Gallery of Grande Prairie until October 31, 2019 Ecology Is: Human | Nature points out the fact that at its core, ecology is the biological need to co-exist within nature.

The impact of human influence and economic development foregrounds the urgent need for a balanced conversation between industry and the environment.

Each of the artists in the exhibition relate to themes that we might appropriately call human nature, yet the separation between these two terms, ‘human’ and ‘nature’ points out how the long-term impacts on ecology welfare do not often enter the conversation when it comes to short-term economic gain. The well-being of human nature is an imperative which foregrounds the need for sound judgment and decision making when it comes to the future of our economies as they intersect with environmental crisis, global warming and the continued viability of extractive industry.

Featured artists: Alana Bartol, Tamara Lee-Anne Cardinal, Carley Freisen, Lyndal Osborne, Marina Roy and Clint Wilson

Exhibition at Lougheed House

Exploring Métis Identity Past and Present

On at Lougheed House, Calgary until September 29, 2019 The current exhibition at Lougheed House explores Métis identity from a number of perspectives, both historical and contemporary. Métis artists from around the province consider what it means to be Métis, while showcasing the internal diversity of the contemporary Métis Nation.

The history of Lougheed House is very much a part of the Métis history of Calgary as Lady Isabella Lougheed was Métis and an early community builder in the city. As such, the exhibition also features her story, as well as historical vignettes, artifacts, maps, and photographs which consider a fresh perspective on how Métis history has been presented historically and what this history means in the context of the evolving idea of Métis identity today.

Artists featured in the exhibition include Alberta Craft Council members Sharon Cherweniuk and Dawn Saunders Dahl, as well as Brittany Cherweniuk, Sarah Houle, Alyse McLeod, Heather Morigeau, Heather Shillinglaw, and Kit Walton.

Well-Endowed Podcast Produced by Edmonton Community Foundation The Well-Endowed Podcast is a production of Edmonton Community Foundation (ECF).

If you live in Edmonton, chances are you’ve been touched by the work facilitated by the support ECF provides to the city’s shakers, movers and doers. As a bridge between donors and charitable causes, ECF helps donors create endowment funds that will continue giving for generations.

With that kind of support, those movers and doers can do a lot!

On the Well-Endowed Podcast, you will hear stories about donors, and what inspires their generosity. And you will hear about the people who use our support to build and sustain social initiatives, empower youth, strengthen arts and culture, and so much more.

Well-Endowed reaches beyond municipal boundaries by featuring stories and people with global appeal. Hear features of passionate champions supporting vibrant communities in dynamic ways. www.thewellendowedpodcast.com

SEPTEMBER - DECEMBER 2019 ALBERTA CRAFT MAGAZINE

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Christmas IN THE COUNTRY Nov 2-3 & 9-10, 2019 A thoughtfully curated artisan market, celebrating the finest in craft.

Friday, Nov 1 / 4:00 - 9:00 Saturday, Nov 2 / 10:00 - 6:00 Memorial Park Library 1221 2nd St. SW, Calgary, AB SublimeTrueCraft.com @sublimetruecraft Co-presented by Wordfest

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ALBERTA CRAFT MAGAZINE SEPTEMBER - DECEMBER 2019

Over 2500 pieces of fine craft and unframed artworks by local artists!

Free Admission 10 am - 4 pm Complimentary Treats More Information

leightoncentre.org 282027 144 St. West Foothills AB 403-931-3633

YOU’RE INVITED TO JOIN IN A NATIONWIDE CELEBRATION OF FINE CRAFT A year-long festival of contemporary fine craft, Craft Year promotes events from all over the country. It is a platform to highlight Canadian craft activity at the local, regional, national and international levels.

Craft Year 2020 is a special project led by the Canadian Crafts Federation in partnership with all of the Provincial and Territorial Crafts Councils and CCF Affiliate Members across the nation.

LEARN MORE AND GET INVOLVED AT CRAFTYEAR.CA

SEPTEMBER - DECEMBER 2019 ALBERTA CRAFT MAGAZINE

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Two holiday fundraisers full of goodwill and cheer!

& ·

Toast the season with live music, good food, craft drinks, great company, and wonderful shopping.

Calgary · Saturday, November 23, 2019 Edmonton · Saturday, November 30, 2019 more info & tickets:

www.albertacraft.ab.ca

For more information visit: www.albertacraft.ab.ca/events Return Address: Alberta Craft Council 10186-106 Street Edmonton, AB T5J 1H4