The Education Issue
Vancouver Metal Arts Association
VMAA
November 2016
From The Editor The holiday season is upon us and many of our members are busy preparing for holiday shows and sales. But for our student members, things are just really getting going. The new school year has started and they are hard at work mastering techniques, brimming with ideas and enthusiasm. It can be a tough slog as the programs are intensive and a lot of hard work is required for success.
This issue, we are looking at education. Opportunities abound, not only at colleges or universities, but in self directed studies, residencies and workshops. The student experience is as varied as the individuals participating and we look this time at how education has impacted their practise and what benefits it has brought to them.
Dana Reed
CONTENTS The Vancouver Metal Arts Association (VMAA) is a community of jewellers, blacksmiths, sculptors, mixed-media artists, enamelists, and others who work with metal or have an interest in the jewellery and metal arts. The VMAA was established as a non-profit society in British Columbia in 2012 with the purpose of offering a forum for jewellers and metalsmiths to exchange ideas and technical information, organize exhibitions of jewellery and metal work, and increase public awareness of the jewellery and metal arts. Each member of the VMAA decides what his/her level of involvement will be. Dues are collected to cover modest administrative costs. Please join us!
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VMAA BOARD President: Louise Perrone president@vancouvermetalarts.com Vice President: Lexie Owen vicepresident@vancouvermetalarts.com Secretary: Jessica Atkinson info@vancouvermetalarts.com Treasurer: Zula payments@vancouvermetalarts.com Newsletter: Dana Reed news@vancouvermetalarts.com Social Media: Cory Douglas media@vancouvermetalarts.com Education: Louise Perrone education@vancouvermetalarts.com Engagement: Stephanie Menard engagement@vancouvermetalarts.com Exhibitions: Julie Kemble exhibitions@vancouvermetalarts.com Member at Large: Carmel Boerner
Feature Member: Peggy Logan NSCAD: Summer Residency
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VMAA President’s Letter
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Upcoming Events
Always Learning
Opportunity: Exhibition Chair Exhibition Review - Hermés at Work
Student Profile: Amanda Green
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VCC Grad Show 2016
Embroidery Workshop: Maiwa Resources
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VMAA President’s Letter Dear All, I don’t know about you but I still think of September as the beginning of the year even though Lasalle College where I teach works on a three semesters a year basis and new students begin the course every semester. Maybe its because sepetember is my birthday month?! The VMAA’s “new year” got off to an auspicious start with a visit from Brigitte Martin, editor of Crafthaus and President of the Society of North American Goldsmiths. If you didn’t get a chance to come to the event, you can watch a video of my interview with her here on the Craft Council of BC Youtube channel, in three parts. There were lots of questions from the audience that continued into the night at our metals mixer at the Granville Island Hotel. Thank you to Events Coordinator Stephanie Menard for organizing. We had a fantastic turnout and also had people following the event live online even though it clashed with the first American Presidential debate! Many thanks to Charlotte Dron at CCBC for facilitating the video. A few weeks ago myself and several of our members attended the Annual Seattle Metals Guild Symposium. I have never been before but I have to say I will do everything I can to attend again. It was a truly inspirational event and every single speaker was fantastic. If you want a more affordable option than the SNAG Conference then this is it. I’ll see you in Seattle next year.
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Lexie Owen and the Exhibition Committee have been working hard preparing for our upcoming exhibition Unexpected, Thursday, November 24, 2016 ― Thursday, December 08, 2016. I have seen the entries and I can tell you we had a very high calibre of entries so please do not be too disappointed if your work was not accepted this time. If you are in Vancouver then I urge you to come and see the exhibition ant Crafhouse Gallery on Granville Island, it is going to be a must see. If you can make it to the opening on November 24th and support the 21 artists exhibiting then that would be great! Also don’t miss the panel discussion featuring Juror Lindsay Rice and exhibiting artist Melissa Cameron on November 26th. Our annual ornament exchange is coming up on December. Please come and bring some festive food or drink to share and if you are really motivated make an ornament to exchange. The ornament is not compulsory so please don’t stay away if you don’t have time to make something we would love to see you there no matter what! I hope you had the chance to visit the Circle Craft Winter, as I did with my students. Which reminds me, good luck to all of our members working for all the seasonal shows right now! Happy making!
Louise
UNEXPECTED - VMAA Annual Exhibition - Nov 24th to Dec 8th Details: UNEXPECTED explores the strange and sometimes discordant elements that make the viewing, wearing, and making of Contemporary Jewellery an enjoyable endeavor. WHAT: Exhibition of Contemporary Jewellery WHEN: Opening night, November 24th, 6pm - 8pm 8th, 2016
Exhibition runs November 24th to December
WHERE: Craft Council Gallery, 1386 Cartwright Street, Granville Island, Vancouver
UNEXPECTED - Artists Talk - November 26th Join us for a panel discussion at the Artist Talk featuring Juror Lyndsey Rice and exhibiting artists Barbara Cohen, Lydia Buxton and Melissa Cameron. WHAT: Artist’s Panel Discussion WHEN: November 26th (Saturday), 7pm-8.30pm WHERE: Studio A, Carousel Theatre for Young People, 1411 Cartwright St, Granville Island, Vancouver Don’t forget to order your free tickets on Eventbrite in order to reserve a seat as there is limited capacity in the Theatre. Donations will be accepted at the door.
November Metals Mixer - Saturday , November 26th Details: After a great panel discussion, what could be better than an outing to the pub? Join your fellow jewellers and metalsmiths for an evening of great conversation and social conviviality. All are welcome to attend, whether you make the earlier discussion or not. Come meet your fellow members. WHEN: Saturday, 26 November at 8:30 pm WHERE: Dockside Pub in the Granville Island Hotel, 1253 Johnston St, Vancouver, BC V6H 3R9
VMAA Annual Ornament Exchange - December 1st Details: Make an ornament for trading and then enjoy some mulled wine and excellent conversation. There is no criteria, just bring an ornament you’ve made to trade and you’ll get to leave with one. Some will be elaborate and some quite simple. Wherever your inspiration takes you is great! If you don’t have an ornament, you are welcome regardless, simply come and join the festivities. WHEN: December 1st WHERE: TBA
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Always Learning [NSCAD & an East Coast Experience] By Lydia Buxton the world around us. At age 15, my parents organized a barbering apprenticeship with a strongly entrepreneurial woman from Germany. By the time I graduated from high school, a unique trade was stored neatly in the tips of my fingers. I relished these skills - now an intuitive motion delighting in the transformation I could create. After an affecting three month trip abroad, I realized that money was ultimately a tool and though I still baulked at the idea of student debt, I decided I was worth the investment. Setting out hopeful and expectant, I settled into foundation year, choosing to focus on 2-D classes. I had dreams of eventually working on editorial layouts for creative magazines. My preconceived notions of what graphic design entailed, mixed with my pre-existing love for composition and photography was a recipe for disappointment. I think I was aware a computer would be involved in the process, but I hadn’t yet come to terms with just how integral my hands were to my own creative
Photo credit: Laura Ellen MacDonald
I
was nearly twenty-one by the time I decided art
school was worth the risk. Even with a childhood steeped in creativity and encouragement, it had been culturally implied that the pursuit of creative passions was surely a (financial) mistake. Thankfully, my parents were a bit unconventional. I grew up the daughter of two small business owners, surrounded by a large, loud family nestled in the Shuswap Valley of BC. We were encouraged early on to use our heads and our hands to explore and learn about
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process.
encouraged me to carry on with my studies instead of taking on the barbershop business. To this day, I am so thankful for that chat, as it was the encouragement that led me to discover my creative medium. The next semester, after handing in my first project for my intro jewellery class, I realized I was hooked. My intro prof, Kye Yeon Son was quick to laugh, carrying a no-nonsense approach to her teaching style and designs. Her minimal, organic aesthetic and humble demeanor deeply resonated with me. Tom too, along with a handful of other amazing instructors was part of a tight community teaching within those amazing walls. With five classes per semester, I continued to barber two days a week to supplement my student loans. Somewhere between balancing a full-time schedule I met someone pivotal, and a quick three months later -- during reading week -- I got married. To be completely honest, that first year was sheer crazy. I finished feeling unconnected with the mediums I’d explored, my biggest discovery being that I could never, EVER spend the majority of my creative hours behind a computer screen. I was so disenchanted with that first year, that when the owner of the barbershop I was working at decided to retire, and offered me the shop keys, I nearly dropped art school altogether. Thankfully, a serendipitous conversation took place in the seat of my barber chair. Dear, sweet Tom Ferraro the newest prof in the NSCAD metals department
The majority of my east coast life was spent living in Halifax’s sister city, Dartmouth, which provided the easiest and most affordable living option close to school. Living near the ferry terminal, it was always a small thrill to brave the whipping wind on the top deck, or nestle in below with my toes tucked up at my favourite window-well. I remember one afternoon when stuck for inspiration, I rode back and forth, reusing my transfer ticket until it expired – finding momentum in the liquid pathways and the constant hum of the engine.
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surrounding rooms were where first year metal students had access to benches on a first-come-first serve basis, while intermediate and advanced students were given dedicated desks for the year. For the duration of my degree, rarely did a studio class exceed a group larger than 12 students. With access to a hydraulic press, and separate rooms for enameling, electroforming, etching, powder coating, lost wax casting, rubber molds, polishing, bead/sand blasting, and photography – the options for experimentation were The university was made up of three separate buildings
endless. Small tokens from students past were tucked
spread across the city, with two of the three campus’ playing a prominent part in the waterfront cityscape. The original Fountain Campus (my favourite) is a historical building, filled with winding hallways and twisting staircases, a full block long and four stories high – always a bit of a nightmare on the first day of class, but a fully endearing place to belong and return to. The metal studios remained tucked away on an isolated mid-floor vortex of the school. In this fully equipped space was a central hollowware room whose walls were lined with dozens of polished forming stakes, and a sea of varying stumps bolted with multiple vice clamps. The
Photo credit: Mary Lynn Podiluk between the exposed beam rafters, while tall windows feature snippet views of the harbour. It was difficult not to feel immediately at home in such an obviously treasured space. The program felt based around the technical developments of hollowware with classes covering techniques such as raising, sinking, and forging, fold-forming and deep draw hydraulics. These techniques coupled with strong fabricating skills gave students a foundation for creating endlessly interesting forms. Traditional processes such as lost wax casting, gem setting, introductory and advanced vitreous enameling, were offered, but so too were more modern classes such as jewellery scaled ceramics, CAD CAM and lathing.
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finally grow to complement each other. In the end I stayed on for an extra year, putting thought into my solo exhibition and focusing my intentions further in my last few open studios. Truthfully, I was also delaying my departure from that incredible place. In my last year, a special summer class was made available with a visiting Prof who taught eyewear design and construction. A special micro welder was added to the studio and we experimented with spot welding titanium. Ultimately, NSCAD provided an amazing environment to study, play and learn, enabling students to test ideas that utilized both traditional skills with alternative materials and new processes.
A huge factor in my education was the group of students that shared my studio experiences. Today, many of my closest friends are still the ones I shared late studio nights with, working with til the last ferry ride home. Together we pushed each other forward, excited for the possibility of realizing our thoughts in a visual format. For me the heart of NSCAD’s metalsmithing success was the passion found in the professors, and the space that brought together a community of discovery and challenge. In my third year, I scaled back my class load and credits, spreading them out over the next few summers. It was exciting to see the skills and ideas I’d been cultivating
Looking back I still can’t believe how quickly the years passed, how many long days disappeared as we spent hours absorbed, overwhelmed and delighted by the opportunities of creating. The time spent observing, trying (and often failing) fostered a way of thinking that continues to shape my life and studio practice today. I’m still learning to value process as much as outcome, but I’d highly encourage taking time to cultivate your creative self, in my opinion it’s definitely a worthwhile investment.
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Peggy Logan
Goldsmith Peggy Logan, a master of enamelling, has had a long career working and teaching in Vancouver, her home town. Having graduated from George Brown College in Toronto, she’s now completing her Fine Arts degree at Emily Carr University. She’s taught at the Vancouver School Board night program, now at Langara College, for over 25 years. Her work has been exhibited in group shows in Toronto, Japan, and Vancouver. In 2013 and 2015 she had a one woman exhibition of her jewellery in New Orleans.
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Feature Member A love for colour and the fractal forms that one finds in the natural world are what motivate the designs and images I create in my enamels and jewellery pieces. Seeds and pods have a particularly strong influence because of the regenerative quality to these objects. I often will cast pods and use them as component pieces in my jewellery designs, combining them with fresh water pearls and stones. The enamels demonstrate my passion for colour and the spontaneity of the process that never fails to remind me of my primary influence, the family of designers and artists that I come from.
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Student Profile
Amanda Green lots of travelling from Hong Kong to LA once a month. I was just burned out basically and I was done. I just needed time to figure out what I was going to do.” Having moved to Canada with a former partner she’d met in Hong Kong, her love of rock climbing enticed her to take chance on Squamish as she attempted to figure out where her path would go next. While she waited for her working visa and then permanent residency to come through, rock climbing and the lifestyle in Squamish allowed her a chance to decompress. “I’ve always wanted to do jewellery, it’s always been the
A
sort of thing I gravitated to. I just really felt I needed some
manda Green is a recent graduate from the
Vancouver Community College Jewellery Art and Design program. She graduated in 2015 and has been focusing on building her business, whilst living amongst the gorgeous scenery in Squamish, BC. Having a background in fashion design and 10 years of experience working as a knitwear designer in the UK and Hong Kong, Amanda is no stranger to the creative muse. When asked why she chose to head back to school as an adult, already having a BA Hons in Knitwear Design from Nottingham Trent University, the desire for a new creative career and a chance to escape the high pressure environment of the fashion world was an opportunity too good not to pursue. “I dropped out of my career for about 5 years … I really enjoyed living in Squamish, the lifestyle, not having the pressure I had in my last career, working long hours with
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stimulus, I wasn’t doing anything creative, having ideas but nowhere to project them. I knew I wanted to stay in Squamish and in Canada and I didn’t want to go back into the fashion industry.”
in my home town. They used to have a couple of pieces of Barbara Hepworth’s work in there and I always just wanted to touch it, to feel it. Such beautiful organic shapes, the materials she uses are so beautifully finished….I love the Bauhaus, the clean minimal lines. Again, it’s functions, it’s true to materials.” The answer to the question “Why VCC?” was a testament to the program the school has built and the difference a local opportunity makes. Her mentor, Caroline Miller, a jeweller in Squamish and a member of the Vancouver Metal Arts Association, had herself gone to the Kootenay School of the Arts. But it was Caroline’s recommendation Amanda found many parallels between knitwear and jewellery design. “Knitting can be quite monotonous, it
that Amanda check out the program at VCC, and her knowledge of the school’s reputation for the high quality
can be fiddly. I used to enjoy the repetitive nature of the work.” While she had great deal of design experience and education, the jewellery program allowed her to have the same chance at exploration with materials and how they could change into something new, how a change in proportion could transform something from edgy to delicate. She found excitement in creating in metal, in 3 dimensions, and the way designs mutate and new ideas are sparked as you go. Her design inspirations come from the 1950s and 60s. “I love modernism and clean, simple lines. I’ve always just gravitated to it, it’s always been around me and I find I just keep going back there. As much as I try not to, it’s been such a big part of me. We used to have a small art gallery
of their technical instruction that was a large factor in Amanda’s decision to apply. And having a local school within commuting distance made it financially feasible and allowed her to stay in Squamish. While the tough commute each day into Vancouver was well worth it, she’s quite glad not to be doing so any longer. The two year program in jewellery and design at VCC is very intense. For Amanda, this was part of the challenge but her perspective is quite practical. Getting value for money, given the need to go into debt as is the case for many students, provided a clear focus on getting as much as possible out of the short time available. The intensity of
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the workload was a struggle at times, especially given that she is dyslexic. But the instructors at the program were very understanding and supportive, which really helped with the extra stress a learning disability can create, regardless of the age of the student. For this adult student, heading back to school was a wonderful experience. She loved every part of the program. In comparison to her time at university, where lecturers and technicians seemed worlds apart, having that one in the same at VCC made for a very personable environment. “I found how they were just really enthusiastic, so willing to give, to teach, that I loved that because of it. I was so hungry to learn again, so hungry for designing again, that I was just so excited by it but I was also so extremely exhausted by the end of it. I really feel it’s the best education I’ve had.”
stranger to dealing with merchants, producing line cards, trying to find outlets to sell her work. But as for lots of recent students, the marketing side can be a struggle. Time not spent in the studio means less work to sell, but trying to set up a business from scratch also just takes time. She is currently working on her website, a process that as for many is not as easy as it seems. Taking high quality images, developing your brand, and creating a professional presentation is a lot of work. While she is working on getting her jewellery into more stores, she knows the lack of a website is holding things back. Jewllery is a very competitive field and there are a lot of talented jewellers which can make it a real challenge to get into area markets and stores. As she states ”Just be patient with yourself, be clear what you want to do and do it because you love it, otherwise there’s not much return as you have to put so much energy into it.”
Now that she’s been out of school for a year and a half, the transition from student to full time jeweller is providing its own set of challenges. As for many new graduates, it’s a balancing act between part time work to pay the bills and as many hours as possible building and growing your business. At least three days a week, you’ll find her in her studio, making new work. With the business side of things, her experience in her previous career has provided some advantage. She’s no
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Opportunity - VMAA Exhibition Chair 2017 This dynamic opportunity will enhance your career as a jewellery artist/designer by raising your profile and make connections in the art jewellery community both locally and internationally. Since our inception in 2013, the VMAA has made significant contributions to the art community by creating opportunities for jewellery artists and designers to exhibit their work and educate the public about art jewellery both locally and abroad. With a goal to placing Vancouver firmly on the art jewellery map, and with exhibition dates secured through to 2018, we are seeking someone with vision and ambition to keep the momentum going into 2019 and beyond. The exhibition chair position involves the following: • Connect with jewellery artists and designers, locally
• Report to the VMAA board and to the president on a
and abroad
regular basis
• Contribute to the local art community
• Liaise with other VMAA committees, as needed
• Create a vision and plan for future VMAA exhibitions
• Distribute and manage calls for entry
• Chair the VMAA exhibition committee and call
• Coordinate the exhibition submission process
meetings as needed
• Solicit location and theme ideas from others for
• Recruit juries and/or curators for exhibitions as
future exhibitions , 2019 onwards
needed
• Submit exhibition proposals to galleries
• Coordinate installation of exhibitions
Must have good written and verbal
• Liaise with other local organizations such as VCC,
communication skills
CCBC and others, as necessary
• Attend regular VMAA board meetings
Must have Word/Excel/Slideroom skills
• Have fun!!!
With annual, local exhibitions secured until 2018 anyone interested in taking on this position will have lots of opportunity for orientation by the present exhibition chair. Please contact VMAA president, Louise Perrone, president@vancouvermetalarts.com, or Julie Kemble Exhibition Chair, at exhibitions@vancouvermetalarts.com, for more information.
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Hermés At Work Exhibition Review
I
By Louise Perrone
heard about the Hermès At Work exhibition through
social media - a friend shared the facebook event and I was intrigued. I found out that the exhibition was originally titled “Festival des Métiers” and has been travelling around the world since 2011. Vancouver was going to be it’s 35th city. The Hermes fashion label began in 1837 manufacturing saddlery for European noblemen. This lead to bags and later scarves, ties and jewellery. The exhibition however was not about showing off or selling finished products, but introducing the audience to the the artisans who create those beautiful, expensive objects of desire and helping us understand the amount of work and the level of skill that goes into crafting these pieces. I decided this would be a fabulous opportunity for my students at LaSalle college and organised a field trip. I was not the only teacher with this idea, on the day we visited there were several school parties there.
The format of the exhibition was surprisingly welcoming and inclusive, the opposite atmosphere that one might expect in a high end designer store. Entry was free, as was a beautiful thick catalogue (they had run out by the last day). Inside a specially constructed for Vancouver temporary gallery, displays featuring the tools, materials, processes and finished articles produced by the Hermès atelier in Paris were beautiful and accessible. The public could touch the exquisite silk and leather used to make their iconic scarves, gloves, saddles and bags. The biggest draw of the exhibition, however, were the demonstrations
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by the Hermès artisans who had been brought from the Paris workshops. There was a glove maker, Saddle maker, watchmaker, gem setter, silk screen printer, ceramic painter, photoshop designer, bag maker, and needle worker hand sewing the edges of scarves. Most of them only spoke French, so local translators were employed to work with each artisan. This worked fantastically for uneducated people like me and I was able to ask a multitude of questions, but hearing school children asking their questions in French made very grateful that I am living in a bilingual country.
As an educational experience I rated Hermes at work very highly for both myself and my students. Anyone who visited the exhibition came away with the sense that highly skilled craftspeople are valued and that the skills and traditions represented by the Hermes brand continue to be desirable and revered by the wider public. TWO THUMBS UP
It was incredibly informative and exciting to these crafts people at work, and gratifying to note that the watchmaker and gem setter were working with the exact same tools and that I was taught to use. The jewellery display also showed the use of 3D printing at the model making stage and the waxes that were produced from them. The cynic might see the exhibition as a mass marketing campaign on the part of Hermès, and I recognise that since the economic turndown of 2008 many brands have thrown the term “Artisan” and “Craft” around in a bid to draw in the consumer looking for an authentic shopping experience. In this case, however, I believe the exhibition succeeded in genuinely representing true craftsmanship.
Hermés Exhjibition - September 21-25th 2016 Jack Poole Plaza, Canada Place, Vancouver
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Summer Residency NSCAD - 2016 I
By Jan Smith
n 2014 I received an email from Pam Ritchey, jewellery
department head at NSCAD University, asking if I might be interested in being considered for their 2016 Summer Visiting Artist Series. This opportunity included a 2 week solo exhibition at the Anna Leonowens Gallery and a 4 week Artist in Residency (AiR) in the jewellery department at NSCAD University. Beyond my own exploration and work responsibilities would include presenting a public gallery lecture, a lecture and presentation of work for the jewellery students, and providing studio visits for students. As a NSCAD alumna it was an honour to be selected for the 2016 Summer Visiting Artist Series. There were numerous artists and various departments involved in Summer Visiting Artist Series and my exhibition was scheduled at the beginning of my AiR. This meant I needed to arrive with work for a 20 x 30 ft. gallery space, instead of showing work created during the residency. My exhibition proposal stated I would show a series of brooches and neckpieces combined with large-scale drawings. The work would concentrate on themes of memory and impermanence. The months leading up to the AiR were full with creating the work for the exhibiton and planning for my residency.
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so easy, there was definitely a learning curve, one that I worked on while in residence. It is a fantastic tool allowing fabrication that doesn’t come apart in the kiln while firing enamel. Next on the agenda was a meeting with gallery staff to discuss my solo exhibition installation and responsibilities. The next three days were spent preparing and installing my exhibition. The Anne Leonowens gallery functions as an artist run space and the staff and volunteers did everything possible to ensure installation went smoothly and my exhibition was successful. I can’t thank them enough for all their help. I couldn’t help but be disappointed that I wouldn’t meet Rebecca Hannon, as she I travelled to Halifax via Montreal and visited with Noel Guyomarc’h at his gallery. I had written Noel prior to my visit to arrange a meeting, as I wanted his insights concerning the new work. This meeting has proven very productive for me and I have used Noel’s insights and questions while creating work during my residency and in ongoing work. The day after arriving in Halifax Kye-Yeon Son, jewellery department professor, welcomed me to the studios. The studios are within the historic properties campus and are where I attended school. On my first day, aside from getting me settled me with ID, keys and studio space, Kye also demonstrated how to use the pulse arc welder. Kye made it looked so simple! When it was my turn, hmm not would be in Amsterdam as AiR with the Françoise van den Bosch Foundation. So you can imagine my delight when I learnt Rebecca was making a brief trip home, and had time to connect with me at the gallery during my exhibition set up. The work for the exhibition was a series of 20 circular brooches of chased copper with vitreous enamel set in sterling silver and 10 neckpieces of copper and enamel, also incorporating other materials such as wood, paint, paper, pearls, silk or linen cords. The stitch-like marks press through the fine layers of vitreous enamel
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The first week in Halifax, Pam Ritchie hosted a dinner for me at her beautiful home. Among the guests were past and present jewellery students, faculty, gallery owners and spouses. I had forgotten how wonderful potlucks were in the Maritimes. Great food combined with talented metal artists made for wonderful conversations; it was a fantastic start to my residency. I was fortunate have a number of visits with both Pam and Kye at different times during my residency in which I visited their studios and had conversations about our field. I learned about their work in greater depth, we shared technical aspects of our work and inspirations, all of which have enriched my practice. Seeing their passion and commitment to education and their students strengthened my resolve for and are based on my interest in geometric pattern
the importance of community and education and am even
and the repetitive rhythm of making. The pieces are
more motivated to continue volunteering with the VMAA.
commemorating intimate moments in my life and I am suggesting fleeting movements of visual pleasure. I was pleased with how the work looked installed in the gallery and although it was a rainy windy night I was thrilled with the turnout for the exhibition opening. There were numerous outstanding encounters throughout my residency but definitely one of them was meeting Despo Sophocleous at my opening and realizing she was teaching summer session. I am a huge fan of Despo’s work, and this gave me the wonderful opportunity to be in the studio with her, talk about her work, learn more about her practice of map and book making and interact with her students.
Anyone can appreciate one of fantastic aspects of this AiR was access to NSCAD’s jewellery studio and its equipment. There are 3 large studio rooms with benches and locker/ tool storage and separate rooms forming, casting, polishing, chemical, powder coating, electroforming, and enameling, plus the graduate studio. The torches are acetylene instead of propane and oxygen so it did take some practice to efficiently solder copper. When I was first invited I proposed that I would continue with my research on vitreous and liquid enamels combining it together with etching fabrication research I had just begun. Once I was in the studio it made less sense, instead I took advantage
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of the pulse arc welder, electroforming bath, and powder coating booth. Danielle Thorn, acting studio technician helped me navigate the studio and answered the myriad of questions I had. To have access to these tools and facilities opened a new way of making for me and it reinvigorated me to revive my electroforming bath, something that I am still working on. It would be wonderful to have the fabulous technician Danielle working in my own studio, making everything run as smoothly as she did at NSCAD. SIGH!
One busy day in my second week in Halifax included presenting a lunch hour gallery lecture. I was expecting just jewellery/metal people but had students and instructors from all departments which made for some
Although I graduated from NSCAD it had been many years since I had been in the city and there has been a large amount of development. One of the development decisions that have been made
very stimulating Q&A. Following the lecture I met one on one with students for half-hour sessions. I found it interesting, students not only from the jewellery department but also from painting, sculpture and interdisciplinary departments had signed up for the sessions. I met with undergraduate and graduate students and in a number of cases the dialogues that began in this initial meeting continued throughout my residency. That evening I gave a power point presentation for the jewellery department and showed a selection of additional work, allowing the students to handle and examine it.
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large herring. In the height of the herring fishing industry there were also large smoke sheds, sadly this industry is all but gone and few of the smoke sheds remain. I was primarily interested in the fishing weirs, which are family owned, having wonderful names such as Cora Belle, Iron lady, Mumps, Pat’s Cove, Intruder. There once were 84 weirs located on the east side of the island but only 24 remain with 3 of them being the newer floating type rather than the tall poles. I am completely seduced by the shapes and patterns of these weirs. My primary interest was to see their beautiful shapes and mysterious qualities
is the preservation of the architectural facades of the heritage buildings. Whilst walking the streets the familiar buildings of my art school days were still there. It wasn’t until I was in my studio and looked across at the Morris Tea building which once housed the education department and the guest artist apartment that I realized it was merely the façade; there was a glass tower inside it. I become fascinated by this illusion and did lot of photography and began an exploration about it during my residency. While on the east coast I also had planned to travel to Grand Manan Island, NB to do some research. I was particularly interested the weir structures used for herring fishing.
Grand Manan was the one of the largest herring
weir fisheries in the Bay of Fundy, for both sardines and
in different tides and lights. Sadly the weather wasn’t particularly conducive to photography; it was pouring rain while I was there. But from the GM Museum I have located some excellent photographs; I am still not sure where this project is going apart from an inspirational shape for wire forms. I also learned a number of factors have contributed to the demise of the industry; lack of demand for smoked herring, increased government regulations regarding sanitation, and growth of the salmon aquaculture. The herring are not returning to the area in such large numbers and there is speculation that as the salmon are predators, perhaps the herring are avoiding the aquaculture pens, which are located in the traditional herring weir areas. I am interested in the historical aspects of industry, what community effects its demise is causing well as comparisons with our west coast fishery industry‘s
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issues with Atlantic salmon aquaculture. Having only 3
solo exhibition comprised of 13 experiments she had
days and such poor weather, I am hoping to do another
conducted while in residence was very interesting.
trip combined with some ongoing research to enable me to develop this project.
Overall the contact with faculty, students, and other
So I’ve raved about the studio, the gallery, how inspired I
overwhelmingly positive, I have a hard time summarizing
was to be in Halifax, travel around the Maritimes but one
the encounters and how they affected me. For some
of the things that made this experience at NSCAD was
one like myself, working in a solo practice with little
the people. It was marvelous to see and reconnect with
interactions with others, it is hard in a short article to
friends from my undergraduate days, share and laugh.
describe the value in having the opportunity to brainstorm
Just as it was when I was a student my old roommate
and bounce ideas off each other, to see someone’s work
Debra Campbell, now assistant registrar at NSCAD, made
first hand and share technical solutions and support each
sure I had everything I needed. It was a bonus to catch
other with concerns and struggles. This will continue to
up on each other lives and learn of the changes within
feed my work for some time to come.
NSCAD. Sadly I learn of the demise of the art education department, part of my original reason for choosing NSCAD as an undergrad student. I was also extremely fortunate to be in residence at the same time as Anne Hepler from Maine. Anne’s work includes sculpture, installation, prints and drawings and I am deeply drawn
practicing artists within Halifax was so enriching and
Finally I would like to thank NSCAD University, Canada Council, and Arts NS for this enriching and amazing opportunity, to everyone in Halifax for welcoming me so warmly, for the support of my own community and to the VMAA and my husband and family for their support.
to it. Anne was AiR in the ceramics department and her
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VCC Jewellery Art and Design 2016 Grad Show
E
very year, students from both classes of this two-year program are given a display case each to show the work that
they have created in the final months of the semester. Along with five to ten pieces of jewellery, each student creates a display to go along with the theme of their designs. The result is a display of little worlds, each enclosed in a plexiglass cube, each displaying the unique perspective of the student who created it.
Carissa Heartt
Vivian Wang
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Randine Graham
Erika Ekeli
Elnaz Zomorodian
Cyndi Mintzberg
Maya Tremblay
Kayla Guo
Sebastien Godin
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Jayme Black
Jade Beck
Kayla Fitzpatrick
Carmel Boerner
Liam Ebeling-Sibley
Ellen Sumono
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Embroidery Workshop Maiwa - Vancouver
By Julie Kemble
M
y roots are grounded in textiles. In another time I
was an avid sewer, embroiderer and surface designer. For the last several years, I’ve felt a lure to combine textiles with metal and bits of embroidered cloth have been making shy appearances in my recent jewellery art. It’s no surprise, then, that I would be attracted to take Bonnie Aidie’s, Art of Embroidery, two day workshop as part of the Maiwa 2016 textile symposium.
Embroidery isn’t something I’ve done in a very long time.... think jean jackets in the late 70’s!!!....so it was good to be reminded of the variety of stitches and applications. A highlight of the workshop for me was the display and “fashion show” of vintage garments festooned with embroidery on loan to Bonnie for this workshop from a local textile collector. I was lucky to get in. As is the norm for most classes offered at the Maiwa textile studio on Granville Island, there’s always a lineup of devoted Maiwa supporters and followers ready to fill the classes the minute registration opens up. The classes are varied and always good value. The instructors know their stuff. The classroom is a feast for the senses. It’s always an interesting mix of students with varied interests and backgrounds. Upon completion of the workshops I’ve taken to date, even though the classes aren’t specifically jewellery related, I always come away feeling well nourished.
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In these days when everything is out sourced and mass produced as cheaply as possible, it’s challenging to think of the hours of hand work that went into making each one-of-a-kind piece. In this minimalist and conformist time when selfexpression is no longer held in high regard, it’s entertaining to think of the discerning women who had the confidence and air to wear these highly unique garments that would surely attract a lot of attention. Registration for the spring line up of workshops open on December 2. Go to http://www.schooloftextiles.com for class and registration information.
Are you a member of the VMMA yet? Why not? For only $25 a year you can be part of a fantastic community of metal and jewellery artists. We have members who are jewellers, sculptors, blacksmiths, mixed media artists, enamellists, gem cutters, engravers. The field of the jewellery arts is wide and we welcome anyone with an interest. We sponsor juried international and group member exhibitions, host artist talks, have social events such as our Metals Mixers and annual tool swap. We also hold workshops for our members, in techiques and professional development. Members receive advance notice of events and discounts on workshops and fees. Studio artists can often end up working alone, with little interaction with other artists. Why not come out to one of our events and say hello? We’d love to see you! Join us or renew your membership at vancouvermetalarts.com/membership/
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Resources Schools and Workshops Schools – Certificate, Diploma and Degree Programs British Columbia Vancouver Community College – Jewelllery Art and Design Diploma LaSalle College – Vancouver – Jewellery Design Diploma North Island College – Campbell River – Metal Jewellery Design Certificate Selkirk College – Nelson – Jewellery Studio Certificate Native Education College – Vancouver – Northwest Coast Jewellery Arts Certificate Vancouver Metal Art School – Jewellery Designer and Goldsmith Program
Other provinces George Brown College – Toronto, ON – Jewellery Methods and Jewellery Arts Diplomas Nova Scotia College of Art And Design – Halifax, NS – BFA – Jewellery Design and Metalsmithing Georgian College – Barrie, ON – Jewellery and Metals Diploma Alberta College of Art and Design – Calgary, AB – BFA and MFA programs – Jewellery + Metals Ontario College of Art and Design – Toronto, ON – Material Art and Design Degree École de Joaillerie de Montréal – Montréal, QC – CEGEP program in French Fleming College / Haliburton School of Art and Design – Haliburton, ON – Jewellery Essentials Cerfiticate, Artist Blacksmith Certificate, Inegrated Design Diploma
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Developmental Workshops and Continuing Education Courses British Columbia and surrounding area Vancouver Community College – Continuing Education Vancouver School Board / Langara College – Continuing Education Martinus Gold – Salt Spring Island Danaca Design – Seattle, WA Pratt Fine Arts Center – Seattle, WA The Ranch Center for Arts and Craft – Snohomish, WA
Supplies Tools
Other supplies/Metal
Lacy West - #102 - 480 Smithe Street, Vancouver
J.W. Findings - #1400 - 736 Granville St, Vancouver
Habsons - 736 Granville Street, Suite 500, Vancouver Capilano Rock and Gem - 1406 Pemberton Avenue, North Vancouver Gesswein - Toronto Rio Grande - (US) - good source of metal at good prices as well Fire Mountain Gems (US) Contenti (US)
Precious metal and gemstones Sarber Jewellers - #700 – 525 Seymour St, Vancouver Precious metal and casting Andrea Roberts - Vancouver – Brazillian Gemstones J&M Coin & Jewellery - 127 East Broadway, Vancouver Fine silver coins Imago Corvi – Toronto – Enamelling supplies Hoover and Strong (US) - Precious metals
Otto Frei (US)
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November 2016
Vancouver Metal Arts Association
VMAA
www.vancouvermetalarts.com
Š2016 Vancouver Metal Arts Association