CCBC acknowledges that the land on which we work is the unceded shared traditional territories of the Coast Salish Peoples, including the territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/ Selilwitulh (Tsleil-Waututh) Nations.
Introduction What is the role of the frame within visual arts? Commonly regarded as supplementary to the work of art, the frame is a protective and sometimes decorative addition, which sets the work of art apart from its surroundings both physically and aesthetically. The frame protects that which it frames. It can be as simple as untreated wood or as ornate and decorative as a gilded baroque frame. The relationship between work of art and frame is hierarchical, with the work of art taking precedence over the frame. The frame ensures that the work of art maintains its value by cradling it within its sturdy structure and protecting it from exposure to potentially harming elements. We can confer from this relationship that the frame has a crucial, yet overlooked, role in the field of visual arts. The Craft Council of British Columbia presents our inaugural fundraising auction and exhibition, FRAMED. For this open call auction, we have invited artists to envision a frame as art itself rather than as supplementary object. We have encouraged artists to think beyond the frame as protector, support and cradle and to explore the complexity of the frame in their respective media. FRAMED will be held from February 15 – March 1, 2022 at the CCBC gallery. Prizes will be awarded to artists: • showing excellence and mastery over their respective medium • demonstrating the most creative take on the frame Curatorial Committee Craft Council of British Columbia
AMY GOGARTY
What Comes in Your Head Frames Your View (2021) cone
6 stoneware, cone 10 soda-fired porcelain, underglaze transer, glaze, metal hardware, rare
earth magnets
9 in x 7 in x 13 in
What Comes in Your Head Frames Your View responds to the theme of “frame” by suggesting that experiences and objects “frame” our points of view. The work consists of the top half to a head, which is decorated with flamboyant swirls. A textured gray funnel emerges from the top to the head. Ceramic objects —“stuff”— in the form of product tubes, crumpled paper or plastic, and a branch with a leaf tumble into the head through the funnel. Additional ceramic tubes and a swirl of plastic surround the eyes, literally framing the view. The piece is a playful admonishment to beware of what you let into your head as it might affect how you frame the world.
ANDROMEDA NELSON
The Inside Out (2022) crinkled gauze fabric, faux leathers, metallic threads, faux pearls
24 in x 30 in x 3.5 in
The Inside Out is the manifestation of Andromeda’s fears into beauty. When challenged to create this piece Andromeda had recently been diagnosed with a debilitating disease and as such had to pull from deep within to find any kind of semblance of beauty in herself and in the world. When fear sets in we often turn inwards and retreat, but Andromeda decided to pull strength from the inside. Building this garden was a labour of not only love but of perseverance. Every single one of the over 200 flowers were handmade, sewn, adorned, embellished and assembled together on the frame by Andromeda. Using primarily a crinkled gauze fabric, faux leathers, metallic threads and faux pearl adornments from a vintage wedding gown “The Inside Out” began to take shape. Hundreds of hours of meticulous work and careful deliberation, pushing through endless nights of fatigue and pain brought forth this representation of honour and respect. This magical garden built for this themed event is by definition the embodiment of the concept. This Framed garden demonstrates that you can take the darkest moments from within and transform them into the beauty and strength you need to survive.
ANGELA LAI
Found Garden (2021) polyvester, plastic
15 in x 53 in
In this piece, the empty space is what conjures up the possibilities of what could be there and surrounding the frame is the materials that build up that vision. In the piece, the materials are seen as spilling out of the empty space, as though it is inspiration from our surrounding environment. The frame, an assemblage of a textured fabric created from a previous installation, Imbue; and an upcoming series, utilizing discarded plastics; is seen as a way to integrate various materials.
BETTINA MATZKUHN
Meadow (2021) assorted fabric, hand embroidery, acrylic
10.5 in x 9 in
This delicate piece combines cloth and lace with tiny stitches to evoke a meadow. Meadows are where we lie on our backs and dream. The little window in the frame is intended to open this timeless mind-space.
BEV ELLIS
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1. Window to the Woods | 2. Forest Rest | 3. Invitation 1. oxidation fired clay, glazes and underglazes, 22k white gold 2. oxidation fired clay, glazes and underglazes 3. oxidation fired clay, glazes and underglazes, 22k white gold 1. 20 in x 30 in 2. 21 in x 30 in 3. 22 in x 30 in
Looking through a window of wood, the conceptual vision of the frame is like a Narnian view from the wardrobe into a magical land. Here the story its told from the perspective of a tree. The frame provides the close up details of texture inviting curiosity. A blanket of white gives space for calm and peace. This meditative stillness welcomes adventurous steps into deep snow and fresh joy.
CINDY KARIMUN
Shield Necklace (2022) sterling silver, balsa wood, nylon thread, leather cord
2.5 in x 1.5 in x 0.2 in
This is a double-sided pendant in the shape of a shield, made from layers of sterling silver and wood, with red nylon threads strung inside the hollow frame. The design is based on research into the heater shields (evolved from kite shields) that were developed in the late 12th century, typically made from wood braced with metals, making them lightweight and easy to move around. The idea of this pendant is to protect our well-being from the complexity of life, which is represented by the threads. Functioning as an amulet, the pendant is worn on an adjustable leather cord and falls right in front of the chest, giving support and protection to the wearer.
CORAL PATOLA
Cardboard Basilica (2022) reclaimed cardboard, paper bag handles, moulded pulp paper, glue
3.5 in x 25 in x 25 in
Arising from the simple idea that if a window frame doesn’t lead the viewer’s eye beyond the frame then the frame must function in reference to itself. Cardboard Basilica plays off the gothic architecture found in Europe between the 12th-16th century. With the understanding that architecture functions as a way to illustrate and preserve the values and ideals of a culture and the era it was conceived in. Here cardboard is used as a way to reference the current sociology of consumerism and globalisation. Cardboard is inherently fragile and robust mirroring our current environmental, economic and social-political standing. While the use of architecture typically found in structures of worship, cardboard symbolises the shift in our overarching dependence on commodity culture for capitalist success.
DEB DUMKA
Absorbed (2022) wool fibre, silk fibre, silk fabric, mirrored glass
22 inches (diameter)
This felted frame is a circle distorted off the round by materials embedded within it. Implying the form of an eye, it suggests looking, but not being able to take in an entire scene. The mirror pieces are a reflection of the pale surface motif and both influence the edges of the work, implying that what is held within can manifest in external ways that distort the perceived shape of things.
DIANA SANDERSON
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1. Nest #1 | 2. Nest #2 | 3. Nest #3 (2022) silk, gut, linen, vines, sumi, bengara pigments
1. 12 in x 12 in 2. 16 in x 16 in 3. 14 in x 14 in
For Framed I enjoyed creating wall pieces using pear branches that sketch lines in grids, drawing the viewer into tiny nests made by combining silk, gut, linen and vines utilizing sumi and bengara pigment for subtle colouring. The shadows created by the branches add depth and are an important element of the work.The three pieces could stand alone or together.
DORIS PURCHASE
Black Rabbet Composite (2022) mixed media
33 in x 10 in
In creating this piece “Black Rabbet Composite”, I make the connection of my love for the process of ‘making’ to the question of function and the value we place on objects, as well as addressing the underestimation and discarding, of the humble object. The unassuming frame for example, the underdog of art, whose sole purpose as an afterthought to support a work of art, is to me, the quiet person at the party, standing in the corner, waiting to tell the rich stories of life behind the scenes. My work challenges these perceptions of dismissal, by selecting that which could be considered a frame rendered useless and to elevate it, by exploring new juxtapositions and patterning through materiality and finding there, a renewed, reconfigured symbolic beauty of the object. With the layering of these storied frames wire and hook, I create a sense of simultaneous perspective. I work as the carpenter worked, assembling and carving out embellishment and respite, with the intention to create an object that will hide, hold and reveal all at once.
ELIZABETH HARRIS
Mouse in a House (2022) wooden frame with porcelain mouse
16 in x 18 in
Building sheds for chickens, kiln shed, woodwork shop, green house, and a plethora of other small construction jobs has consumed time separately and collectively. The beginning is always a beautiful thing, the structural framework of its intent.
EMILY WAREHAM
Reaching, Rising (2022) sterling silver, polymer clay, antique glass, spring steel
5.5 in x 2.25 in
A brooch is a radical affirmation of “self”, in this case, a window into the soul. It has been my own personal tendency to hold on to rules and work within rigid frameworks, holding myself to unattainable standards. When I found polymer clay and its ability to transform as a material while maintaining austere refinement, in contrast to the cold rigid metal, I began to break out of my “framework” and started to grow as an artist. On one hand the frame holds and protects but on the other hand can restrict and hamper the original intent. In this brooch “Reaching, Rising” there is part of the “framework” that remains, as the structure in which to build, grow and gain support from. Like myself, a new material and form has broken free from the frame, reaching and rising to the outside of the structure, transforming into new and exciting potential.
FRANCINE HAMPSON-REID
Mr. Mondrian Goes to Paris (2021/2022) stoneware fired and glazed clay, fibre, wire for hanging
13 in x 13 in x 2 in
This wall plaque, which can also be displayed on easel, can be used for supporting a photograph or mirror. The work was conceived by imagining what French artist Piet Mondrian’s art would look like with influences from the Moulin Rouge and the Post Industrial age.
HARUKA IMAI
Be You (2022) glass, gunmetal
12.5 in x 0.11 in x 0.85 in
This book-shaped locket necklace is called “Be You”. Hand made from brass, it can be opened and closed like a book. The inside of the book is engraved with the words “Be You” so that if the wearer is feeling depressed, they can lower theirgaze and see the message to be themselves without force. Haruka created these necklaces in the hope that this would make people feel more confident.
HOPE FORSTENZER
Unsee (2022) blown, copper foiled, leaded glass with zinc bar
29 in x 23 in
The last couple of years have been filled with wild uncertainty, anxiety, and experiences none of us could ever have imagined. This piece expresses the wildness of that ride, imagining how we feel inside as we look out at this unusual time through our COVID glasses.
JENNY JUDGE
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1. Memorabilia: Pearl Necklace | 2. Memorabilia: Lost Letters (2022) paper clay, stain, glaze, gold lustre
1. 4 in x 5 in x 1.5 in 2. 10 in x 6 in x 1.5 in
Small antique frames are repeated and collaged with found artifacts in order to create an assemblage of memories and memorabilia. The objects are cast or made in paper clay. The photographic images are made using 3D prints that have been embossed in to the surface.
JOHN HAMPSON-REID
This Blooming Thing (2021/2022) stoneware fired clay, guitar strings, brass rods, rubber balls
12 in x 12 in x 12 in
Freestanding ceramic fired and glazed with attached metal legs, rubber feet and brass pistules. The visually conspicuous corolla of petals serves to draw in one’s eye to the centre, as in natural corollas that attract pollinators to the flower.
KATE ARKILETIAN
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In this triptych of wombs, the sculpted uteri represent the ancient framework for all mammals; the wombs of our blessed mothers. The imagery carved into the sculptures reflects not only on the mystery of the feminine but connects it to the vast primordial oceans from which we evolved.
1. Gaze of the Nautilus (2021) stoneware, black slip
11 in x 8 in x 3.5 in
The nautilus is an ancient sea creature, thought to have evolved 500 million years ago.
2. Octopus Gardens (2021) stoneware, black slip
12 in x 8 in x 3.5 in
The octopus evolved about 150 million years ago. They are highly intelligent, just like mothers.
3. Drift of Jellies (2021) stoneware, black slip
13 in x 8 in x 3.5 in
Sea Jellies are everywhere and evolved around 600 million ago.
KEN GUENTER
Is There A Way Out? (2021/2022) re-purposed african sapele, re-purposed american black walnut, re-purposed rubber stamps handles, assorted handware, paint, oil finishes
4 in x 21 in x 36 in
Pictures are “Framed”; so are houses, victims, villains, and ideologies. It is a concept that gives us guidance, focus, and pause for thought. Does a frame connote containment? So many things in the world seem unbalanced. Tenuous support and seemingly impossible solutions hang in precarious balance. Seemingly wide roads narrow and openings for the framed are often hazy at best. The aphorism “caught between a rock and a hard place” comes to mind. If a frame has an opening are its inhabitants truly framed or do they have an escape route?
KHUDEJA SANA
The Traditional Bracelet Frame (2022) copper, beads, felt
8.5 in x 2.25 in x 0.25 in
The cuff bracelet is inspired by the traditional rug designs of her home country, Afghanistan. The bracelet is made from copper, beads and felt. It was made using techniques of piercing, loom beading and hammering to achieve desired texture.
LEX BATTLE
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1. Protection (2021) wood, cedar, stones, incense, paper collage, flowers, copper, sweet grass, album covers
8 in x 14 in
The three triangles symbolize the in between of worlds. Simultaneously existing together and transmuting a sense of alchemy.
2. Moon Tides (2022) miniature wood, skin hide, red string
3.5 in x 3.5 in
Clustered wood wraps red veins around the crescent moon relating to the body as a vessel itself.
3. Weaver (2022) white string, brass, fabric, cedar, beads, dream catcher, pin, paper
8 in x 10 in
Through weaving together of brass and a dreamcatcher, the interconnection of foreign objects goes beyond the frame itself. Symbolizing the spiritual and physical systems as a whole.
LOUISE PERRONE
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1. Spectacle I | 2. Spectacle II (2022) lycra, broken eyeglasses, cotton batting, cotton cord
6 in x 2 in
Spectacle I and II are necklaces made with wasted swimsuit fabric from the fashion industry and a pair of broken eyeglasses. The process of sewing the spectacles into a synthetic cocoon unifies and enhances the surface details, while hand embroidery draws attention to the spaces created by the absent lenses. With reference to spectacle chains that allow reading glasses to be worn around the neck when not in use, the missing temples have been replaced with a lycra cord, permanently transforming the object into a necklace.
MA JEDEH SHARIATZADEH
Her Eyes (2021) copper, beads, ribbon
12 inches across (6 in x 4 in per panel)
Her Eyes is an interpretation of an eye mask known as a burqa from the HormozGani province in Iran. It is made from a copper sheet covered by patina. The patterns which are hammered on the mask are inspired by Islamic art patterns. The lotus flower on the right side of the mask is a symbol of feminine existence. The lotus, or niloofar in Farsi, is the flower of life and creation and has around 100 variations. The influence of this flower may be seen in architecture and historical vestiges of Iran. Iran has many smaller ethnic groups, with their own language, traditions and clothes. HormozGan is one of the 31 provinces of Iran. There are accessories in HormozGan women’s clothing that in addition to the decorative aspect, also have a practical aspect, and one of the most important of these accessories is the burqa. This eye covering protects the face from sunlight and frames the eyes. The burqa is made of linen cloth, and part of it, which is placed on the nose when worn, is made of cardboard or thin wood. The color and design of the burqa indicates which city, tribe and region of Hormozgan province the person wearing it belongs to.
MAMI KURODA
Springlasses (2022) beads, wood, copper
2.5 in x 5.5 in
x
5 in
“Springlasses” is a pair of mixed media flower glasses using a wooden base as the frame. White and yellow beads mimic daisy flowers around the rims, and there is green painted copper wire resembling leafy twigs which entwine the temples. The view from the flame is to make the wearer think about how spring has or will come. Ordinary glasses can improve eyesight, but these flower glasses can further boost feelings. People will enjoy the fresh look and it will make them feel like they can also have a fresh start.
MAUREEN WOUTERLOOT
Family Ties (2022) polyester midcentury men’s neckties, pre-made grey satin pouch with
7” coil zipper,PVC sheets cut
into tie channel shaped strips, metal ‘skirt hook and bar, designer label purse:
13.5 in
x
9 in x 3.5 in, frame: 23 in x 30 in x 0.75 in
An artist’s rendition of a mid century inspired women’s handbag. This purse’s silhouette has emerged through a creative process that comes ‘ahead’ of style, and is evoked through details of the tie’s era. These raw materials are then transformed by, inspecting for flaws, washing and re-sizing to fit a precustomized paper pattern until the final character and style is apparent. Remembered as being carried on the forearm or by hand at a lower height, with a boxy weighted appearance no doubt to affect a frailty of the wearer. Soon replaced by more practical shoulder straps and backpacks. This particular example’s handles can function as both clutch and with shortening of the straps, the retro elbow-crook position. Although the purse is able to stand up on it’s own, suggesting intrinsic ‘use. Once hung on the oak dowel and displayed freely inside the frame, the retro qualities of this purse are subjectively altered as if placed in a viewer’s home closet alongside other sartorially hung possibilities.
MELODY JUTHAMONGKAL
Framed (2022) Thumbcuff: wax sculpted and carved, metal (925 Sterling Silver) cast, fabricated hinge and clasp, depletion gilded finish (0.7 in x 2.5 in x 1.1 in) Link: wire forming, heat treated finish (0.6 in x 0.6 in x 0.4 in) Chain: wire forming, fabricated chain, oxidised finish (23 in)
“Framed”...wrongfully convicted. A scapegoat. My interpretation of framed stems from wordplay and word association, resulting in the conceptualization of scapegoats: framed individuals. Inspired by the medieval era visuals, this work consists of three constructible components - a thumbcuff in depletion-gilded sterling silver; and for added wearability, a heat-treated copper link and a 60cm oxidized cable chain. Once assembled, the black chain alludes to the perception of others where the wearer is perceived to be guilty; while on the other hand, the pure white frame denotes the scapegoat’s (the wearer) innocence. The link component is shaped to resemble a stylized goat head and heat-treated to a bright red colour for transition between the dark chain and the light cuffs. Confined, restrictive, and rather unpleasant when fully equipped, “Framed” approximates the discomfort prisoners experience when locked in a pillory.
MIAD ESHRAGHI
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1. Untitled | 2. Wind (2022) silver, brass, bronze and reclaimed wood
1. 15 in x 11 in x 3.5 in 2. 15 in x 13 in x 3.5 in
Universe You Nature Me Universe is completed frame. Nature is a completed frame. We all are Dancing around a pattern of completed frames. Separate but complete. Sometimes we think to break it and fly free. Start something new Yet-again we are still in the frame With the frame Part of the frame Loosed or loved flying in the frame Lets make new style for the frame In the shrine of the heart except the flower of cunning love
NIK SYLVAN
Framed Album/Album Framed (2021) paper, ink, board, leather, vintage frames
6 in x 8 in x 2 in
Framed Album/Album Framed is a book-shaped collection of frames, constructed using letterpress printing and traditional bookbinding techniques. The inside pages each have a decorative frame, printed on a vintage printing press from polymer relief plates made from the artist’s drawings. The endpapers are also pairs of frames, covered in English handmarbled papers. Each frame contains a hand-printed example of an old letterpress cut, but these images are all removable and can be swapped out. The covers feature goat leather and handmade paper, and each is inset with a small vintage frame. The images in the covers are also removeable, and are accessed via the endpapers, which are hinged and have small magnets in the outside corners. The piece can be stored on a shelf like a book, or stood on a table with the covers displayed like a hinged frame, or displayed to show the pages instead.
NOEL HADA
Knife and Fork Collar Necklace (2022) copper, sterling silver, patina with liver of sulphur
This collar necklace’s design frames the world’s food issue. While food waste has become a major issue in the world, continued overconsumption leads to food waste. The circle of the collar and the design of the cutlery represent a dish. By putting it around the neck, it symbolizes how people lways have food on their mind and they are constantly chained to a food issue.
PATRICIA GASPAR
Akua (2022) paper mâché, acrylic and oil paints, wood, glass, metal wire
26 in x 15 in
We must care about it, because water is life for us, and for all the creatures, and plants in this wonderful world. With this challenge, Patricia used the frame surface as if it were a blank canvas. She made use of different materials such as paper mâché, fabric, clay, metal, glass, wood and hand printed papper. She began with covering the frame in paper mâché and then painted it with acrylic and oil paints.She added knitted metal wire and wrapped the pieces of glass in metal wire to hang them within the frame. She added aboriginal prints, that she printed on handmade paper.The little homes are made of wood and hand painted with acrylic paint. The most important thing is that this artwork was made with a lot of love.
SARAH LAWLESS
Within Grasp (2022) hand-built earthenware clay, terra sigillata and sawdust fired
19 inches (diameter)
A frame is designed to contain a fragment of life, preserved and displayed, but always beyond our grasp. This frame grasps at the hollow place we yearn to fill with memories or mirrors.
SORAIA MAURILIO
Let’s Party (2022) bronze, sterling silver, copper, agate, zirconia
6 in x 5 in
The piece has a vintage style and is slightly inspired by the art déco pieces from the 20’s. The frame has two bars where to attach the fabric to build the bag and two holes at the bottom to secure its corners. The hand bags and clutches are among the most desirable and valued accessories in the fashion world. The designers dedicate time and efforts to create sophisticated, original and elegant pieces which usually are structured through a frame. Here the frame is the focal point that makes the fabric body of the clutch a simple background and support.
SUE MUIR
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1. UNTETHERED Earrings (2021) bronze, sterling silver, recycled silver, gold, brass
1.75 in x 1 in
2. UNTETHERED Necklace (2021) bronze, sterling silver, recycled silver, gold, brass
2.25 in x 2.25 in x 25 in
By definition, the word FRAMED suggests boundaries, outlines, structure, shape. Both positive; protective as in a piece of artwork, or negative; to restrict, limit, contain as a fence. Untethered suggests a resistance to both. It is an energy with which one can choose to live life - in harmony with the moment without the control of external factors. Life is a series of frames, frameworks and boundaries. While some a necessary as part of our social contract, so many are simply in place to suggest and manipulate our opinions and consensus. To be able to recognize and abandon many of these frames is necessary to truly allow creativity to thrive.
Artists Biographies
As a self taught artist Andromeda has been developing, experimenting and discovering her processes and her style for most of her adult life. Her
AMY GOGARTY
use of materials sets Andromeda apart not only in her
Amy Gogarty taught histories and theories of visual
techniques but in the concepts as well. Everything
arts at ACAD in Calgary for sixteen years prior to
created by Andromeda is inspired by a deep
relocating in 2006 to Vancouver, where she works
connection to nature, specifically flowers, where she
as an independent researcher, artist and writer.
finds the diversity of their colours and shapes to be
She is a maker of functional and sculptural ceramics
the most exciting.
and the author of over one hundred critical essays, reviews or presentations relating to visual art and
ANGELA LAI
craft practice. In 2021, she was named an Honorary
Angela Lai is a multi-disciplinary artist from
Member of the National Council of Education on the
Vancouver, BC. She is currently revisiting her
Ceramic Arts (NCECA), and she was short-listed for
practice as an emerging artist and focusing on
the Canadian Crafts Federation Robert Jekyll Award
developing site-specific installations and craft
for Leadership in Craft. She sits on the Board of the
practice. She is interested in exploring her various
North-West Ceramics Foundation and is a passionate
interests including her cultural past, architecture,
supporter of ceramics in British Columbia.
and integrating sustainable practices throughout her processes and work.
ANDROMEDA NELSON Born in the prairies and based in BC Canada, mixed-
BETTINA MATZKUHN
media artist Andromeda is known for her powerful,
Bettina Matzkuhn learned to embroider as a child.
bold, and colourful works that are often as profound
She uses thread and fabric to explore stories about
as they are playful.
nature and ecology. Her work has taken many forms:
embroidered sculptures, maps, interactive projects,
WeMakeStuff, The Crafted Dish, a Juried Collection
and animation that incorporates textile processes. In
of talented clay artists from across Canada.
the 1980s, her three animated films for the National
Represented by several Galleries, her artwork is in
Film Board of Canada –using textiles– garnered
corporate and private collections around the world.
awards. She has participated in residencies in the Yukon, Saskatchewan, Banff Centre and Gros Morne
CINDY KARIMUN
National Park in Newfoundland. She holds a BFA in
Cindy Karimun is a jewellery designer born in
Visual Arts and an MA in Liberal Studies from Simon
Jakarta, Indonesia. She graduated with a Bachelor of
Fraser University. Her work is exhibited across
Arts (BA) major in Industrial Design from Limkokwing
Canada and internationally, and held in public and
University in Malaysia. In 2012, Cindy established
private collections. She writes professionally on the
her own jewellery brand “Tree Craft Diary” -
arts, teaches and volunteers.
emphasizing the natural characteristics of gemstones with her own contemporary, unique style. Her work
BEV ELLIS
has been exhibited in numerous international shows
Winner of the SSICA Ceramics Biennial People’s
including South Korea, Japan, Taiwan and Indonesia.
Choice Award, and a large scale Ceramic Installation
She is currently upgrading her skills in the Jewellery
for VanCity, Ellis creates highly textured surfaces
Design program at LaSalle College Vancouver and
with clay. Her favourite muse is nature, where
will graduate with a Diploma in August 2022.
often beauty is found in brokenness. Her sculptural forms have a realistic quality, drawing the viewer
CORAL PATOLA
into forest textures of bark and fungi. Not content
Coral Patola is a POC artist working predominantly
to replicate nature, Ellis plays with form and colour,
in ceramics and sculpture. Currently living on the
creating fantastical sculptures. She is published in
unceded territory of the Lílwat Nation, currently
Artist Journals, magazines, the Book of 100 Artists:
known as Pemberton BC. After graduating Emily
Carr University of Art + Design with a BFA and
landscape sounds, expanding the sensory snapshot,
Major in Illustration, Patola went on to pursue a
connecting into our private experiences through a
ceramic career under the name Piton Pottery. The
constructed moment.
overarching theme of their ceramic and sculptural work is the intention to instil the mundane objects
DIANA SANDERSON
and materials with mindfulness and attention.
Diana Sanderson has spent the last 40 years
Creating work that inspires people to slow down and
indulging her fascination with the inherent qualities
appreciate the complexities and interconnectedness
of silk by dyeing and weaving it to create distinctive
of ourselves and the outer world through materiality
garments and accessories. The Silk Weaving Studio
and form.
on Granville Island in Vancouver has been the centre of her exploration, providing a space that inspires
DEB DUMKA
her and creates an environment for exploration of
Born in 1954, Deborah Dumka has lived for the
the natural characteristics of the fibre for her fellow
most part in her birth province of BC, occasionally
weavers and the public alike. While maintaining the
in other parts of Canada and mostly on the shores
weaving studio on Granville Island, Salt Spring Island
of an ocean. Her post secondary education and short
is now Diana’s home and it is in her studio there
career in electrical engineering bestowed on her a
that she has continues her exploration of natural
problem solving lens that carries into her interactive
materials.
textile based craft practice. Within her work, Dumka explores themes of belonging, place and our
DORIS PURCHASE
connection with nature. She uses wool, silk, dyes and
Doris Purchase is a Toronto-based mixed media artist
carding tools to blend raw materials into thin layers
who has degrees from Ontario College of Art and the
that are assembled through felting into low relief
University of Guelph. Doris’s work is predominantly
tactile elements. Using electronics, she integrates
conceptual and draws on the materiality behind a
painting. Through her practice, she focuses on artists’
focus in craft) from NSCAD University. In addition
materials to invoke conversations about western
to her role as Director of the Centre for Craft
ideals and question our value system. Part sculpture,
and jewellery artist, her affection towards craft
part painting, these pieces are inversions. They are
and community has led her to co-found the Co-
about unearthing what’s obscured to bring the raw
Adorn Art Jewellery Society, a local community of
materials of a painting to the fore.
jewellery artists that has grown into a national and international organization.
ELIZABETH HARRIS Elizabeth Harris has been a practicing artist since
FRANCINE HAMPSON-RIED
the 1990’s. A graduate of Emily Carr College of Art
Francine Hampson- Reid studied ceramics at
and Design; she began her career in Vancouver B.C.
Sheridan College, Mississauga, Ontario, Georgian
Harris has exhibited extensively and is currently
College, Barrie, Ontario, the and University of
represented by Canada House Gallery in Banff,
Calgary, Calgary, Alberta. She currently resides on
Alberta. Harris now lives in Paradise Valley near
Salt Spring Island where she built a 15 cu. ft. soda/salt
Squamish, BC.
kiln and produces high fire, primarily functional ware at her studio (Mudpuppy Studios). Her work is sold
EMILY WAREHAM
at several gallery locations as well as a home based
Emily Wareham is an emerging, future-focused
gallery for visitors with the Salt Spring Island Studio
leader and champion of Craft with over ten years
Tour.
experience as a successful jewellery artist, educator and administrator. She holds a Bachelors of Design
HARUKA IMAI
(Honours) Major in Communication Design, a
Haruka Imai has been interested in the arts since
Bachelors of Fine Arts (Jewellery Design and
she was a child and after college graduation, she
Metalsmithing) and a Masters of Fine Arts (with a
came to Canada to study language and jewelry.
She is currently studying jewelry design at LaSalle College in Vancouver. Her work is influenced by her hometown, where she lives in harmony with nature, surrounded by the ocean and mountains. Her goal is to create jewelry that is simple, accessible to people of all ages and that can be worn to recognize one’s own identity and bring colour to one’s daily life.
JENNY JUDGE Jenny Judge grew up in Ontario and received a BFA from Queens University. She holds an MFA in sculpture from the University of Minnesota (1992) and works in a variety of materials such as clay, fibre, glass and focuses on craft-installation. She lived in New Zealand in 2004 where she was introduced to kiln-cast glass. She returned to Canada in 2012 and
HOPE FORSTENZER
now lives in Whistler, BC. Her work has been shown
Hope Forstenzer is a native New Yorker who worked
in New Zealand, Australia, Korea, Japan, France, and
extensively in film, theatre and ceramics before falling
Canada.
madly and irrevocably in love with glass at the turn of the century. By 2003 she had moved to Seattle to study glass with as many glass artists as she could find. She has been living in Vancouver since 2012, and is a proud member of Terminal City Glass Co-op, where she works and teaches. She has shown her sculptural work in juried shows at D’Adamo Woltz Gallery in Seattle, Seymour Art Gallery in North Vancouver, Crafthouse Gallery in Vancouver, PoMoArts, The Art Gallery of Burlington in Burlington, Ontario, and as part of a group commission for the Vancouver Opera.
JOHN HAMPSON REID At the age of 64, John Reid retired from a career in graphic design to become an “emerging artist”. Rekindling a passion for sculptural art, he now creates mixed media pieces that are both clever and whimsical. His partner Francine Hampson- Reid is a professional potter, and from their studio (Mudpuppy Studios) on Salt Spring Island, BC, they collaborate on many ceramic based projects.
KATE ARKILETIAN After completing a BFA in ceramic sculpture at the University of Waterloo in 1994, Kate was eager to expand her sculptural ceramic work into functional ware.
exhibitions in Victoria and the Comox Valley; the most recent being a 30 year retrospective of the Camosun College Fine Furniture program at UVic’s downtown Legacy Gallery (2018).
She completed a Professional Diploma in
Ceramics at the Centre de ceramiques BonSecours
KHUDEJA SANA
in Montreal in 1997 and it was during her studies
Born in Afghanistan, Khudeja Sana graduated from
in Montreal that she discovered the art of sgraffito;
a medical university and worked as a doctor for one
carving through a layer of coloured slip to the clay
year before moving from Pakistan to Canada in 1992.
beneath to create contrast.
Since childhood, she has had a strong connection
She is a member of the Burnaby Potter’s Guild, the
with the arts, and has since decided to study design
BC Potter’s Guild and the Craft Council of BC.
in Canada. She is currently enrolled in the Jewellery Design Program at Lasalle College, Vancouver. In the
KEN GUENTER Ken Guenter is delighted to be recently engaged
future, she will continue to broaden her knowledge and experience in this field.
in creative projects that do not require him to be constrained by function. This change of direction
LEX BATTLE
has freed his creative talents to engage with projects
Exploring the unseen realms around us as part of
more focused on creativity, recycled/repurposed
her multidisciplinary practice of making collage
materials, and social justice.
assemblages, music, writing, and video creations.
Ken’s furniture pieces are in private collections in
Lex Battle’s diverse visual language travels through
Canada and the United States, including a piece in
the richness of her native heritage. She engages in
the Maltwood Collection at UVIC. Ken has curated
an ongoing conversation with the natural world, communicating with spirit, and the human psyche.
LOUISE PERRONE Louise Perrone is a Canadian jewellery artist who
Her works are inspired by Islamic art, cultural history traditions and modernity for women.
works with materials from domestic and industrial waste, employing techniques that combine the
MAMI KURODA
traditions of goldsmithing and hand sewing to explore
Born in Fukuoka, Japan, Mami Kuroda studied
the values attributed to traditional women’s work.
French at the University of Fukuoka before moving
Born in London, England, Perrone holds a Bachelor
to Canada. She is currently studying jewelry design
of Art in Sculpture from Nottingham Trent University
at Lasalle College. Mami’s work is heavily inspired by
and a Post Graduate Certificate in Art and Design
classical French architecture, as well as her love of
Education from the University of Brighton. In 2002,
nature. She works with wood, copper, and beads to
she graduated from Alberta College of Art and Design
realize her vision and create stunning wearable art.
with a Bachelor of Fine Arts in Jewellery and Metals. Perrone is the recipient of several awards including
MAUREEN WOUTERLOOT
the Governor General of Canada’s Academic Medal
After retiring from fifteen years of working in
and The ACAD Alumni Legacy Award.
the forest industry, where she sometimes went for months without shopping, she began thinking
MAJEDEH SHARIATZADEH
consciously about fashion. Second hand stores
Born in 1999, Iranian artist Majedeh Shariatzadeh
became her supplier of raw materials, rather than
is a jewelry design student at Lasalle College
typical chain store fabric outlets. She embraced
Vancouver and studying online for a Bachelor of
the world of ‘slow fashion’ by apprenticing under
Industrial Design from the University of Tehran
and working for other designers. She volunteered
Central Branch. Majedeh has developed her skills in
building costumes for the Royal City Musical Society,
metalwork, stone setting, wax carving and casting.
CBC and the Vancouver Opera.
MELODY JUTHAMONGKAL Melody Juthamongkol is a Thai-Taiwanese aspiring Art Jeweller based in Toronto. After receiving her Bachelor of Design from Ontario College of Art and Design University (OCAD U), Jewellery and Metalsmithing program, she was accepted as an artist in
Art). He has realized his goal as crafting unique and meaningful sculpted jewellery using his experience and knowledge in Eastern and Western art. Miaad has received the Outstanding Artist award at Global Art, Dubai (2018) and has participated in a number of exhibitions in Canada and internationally.
residence at Harbourfront Center’s Metal Studio. Her current practice focuses on fabricating one-of-
NIK SYLVAN
a-kind narrative art jewellery through depletion-
Like many artists and writers, Nik (Nicole Silveste)
gilded sterling. Many works by Juthamongkol strive
has been drawing and writing—making stories—since
to relay light-hearted messages by visualizing playful
she could hold a pencil. Nik began printmaking and
narrations inspired by the natural world. Interactivity,
bookbinding seriously in art school, when she wanted
movement, and playability are key features of her
to find a way to make content for hand-bound books.
works.
Nik currently specializes in relief printing— linocut and letterpress—and chooses as her subject the
MIAD ESHRAGHI Born in 1975, Miaad Eshraghi is an international, award winning Persian/Canadian Artist. Miaad
natural world of Vancouver Island. Although she has lived all over North America, Vancouver Island is the only place that has ever felt like home.
began exploring the art of jewelry and sculpture upon graduation from high school. This passion led
NOEL HADA
him to graduate in Jewelry Art and Design from
Born in 1998, Noel Hada graduated from the
Vancouver Community College, after which he
Faculty of Economics at the University of Tokyo,
opened an art studio in North Vancouver (Hands Of
and is currently studying jewellery design at Lasalle College, Vancouver where she has developed skills in
metalwork, patinas, enamel and wax carving. Noel’s designs are inspired by vintage jewellery and modern style, creating simple and unique jewellery.
SORAIA MAURILIO Born in Brazil, Soraia Maurilio lived most of her life in the city of Rio de Janeiro and in some small villages on the northeast coast of the state, always by the
PATRICIA GASPAR
sea. The light, the nature, the colors and the cultural
Born in Argentina, Patricia Gaspar is a freelance
characteristics of this environment had a great
artist who studied printmaking at Emily Carr
influence on how she makes art.
University of Art and Design in Vancouver, BC. She has participated in exhibitions in Argentina, Europe,
SUE MUIR
Japan, Italy, The Netherlands, Switzerland, and
Largely self taught, Sue draws mostly from her
Canada.
past career as a professional photographer to creative processes.
Making connections is the
SARAH LAWLESS
fundamental goal of all her work. She synthesizes
Sarah Lawless is a professional Canadian ceramic
her live mindfully philosophy with creating pieces
artist. She holds a Bachelor of Arts from Simon Fraser
of personal adornment that are beyond fashion
University (Burnaby, BC), and a Diploma in Craft &
accessories.
Design from Kootenay School of the Arts at Selkirk
are the signature elements visible in her designs.
College (Nelson, BC). As a student, she worked as
She surrenders control to the raw materials on her
assistant to worldrenowned ceramic artist Wayne
bench. Unscripted, spontaneous, and never forced,
Ngan. As an established artist, she has received
the outcomes are what they are - much like life itself.
several awards for her work, which has been shown and collected across Canada, the USA, and overseas.
Simplicity, imperfection and fluidity
About the Craft Council of British Columbia Craft Council of B.C. is a charitable arts service organization which supports all stages of artistic practice in the craft sector; creates opportunities for artists to exhibit, sell and produce art work; provides a voice for artists and craft organizations and aids in the development of active communities around craft. Since 1973 we have been making craft more significant in the cultural life of British Columbians and Canadians. Through our public gallery and social enterprise shops on Granville Island, and at the Vancouver Airport Crafthouse, we exhibit and interpret contemporary objects in ceramic, glass, fiber, metal and wood that honor innovation in art, craft and design and celebrate materials and processes. As a membership-based organization, CCBC welcomes all those who are interested in or curious about craft. Many individuals and institutions belong to CCBC - artists, teachers, scholars, collectors, gallery owners and professionals in related fields in British Columbia. This diversity is well represented in CCBC’s governance through its Board of Directors, which is elected annually by the members.
www.craftcouncilbc.ca
Contents copyright 2022 by the Craft Council of British Columbia. Images copyright the individual artists. Images or text may not be used in any way without written permission. All rights reserved.
Catalogue design by Charlinee Wichaidit Cover photos by Alex Montes de Oca
Front Cover image: Meadow, Bettina Matzkuhn
Created in Canada in 2022.