Past Exhibitions
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January 29 – April 22, 2012
Ann Roberts: With Both Fear and Intrepid Enthusiasm
50-year retrospective by the South African born, Waterloo Region ceramic artist and sculptor, Ann Roberts. The exhibition will survey various stages of the artist’s career beginning from her early functional work to her highly engaging sculptures influenced by mythology and infused with literary sensibility. Her work has explored the female form, often retelling myth from a feminine point of view. “Myth is something you play with,” she said once. This exhibition will take viewers on a rich journey of a highly engaged and interesting artist’s quest for place and mythology. Roberts has been exhibited in over 150 invitational or juried exhibitions in Canada and internationally. She has completed eight major sculpture and mural commissions and her work is illustrated in 15 books, discussed in journal articles and collected by 22 museums in Europe, Asia, Australia, and Canada.
The Art of Mentoring : A Legacy
Complementing Ann Roberts’ 50-year retrospective exhibition as a ceramist and sculptor, this companion exhibition celebrates a small part of her legacy as teacher and mentor.
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October 21, 2011 to Jan 15, 2012
TERRA NOVA: Canadian ‘Ground-Breakers’ in Ceramic Art
Ceramic arts may date back well over 25,000 years but contemporary artists continue to redefine both its material and conceptual possibilities. Terra Nova brings together some of Canada’s most innovative contemporary ceramic artists in a fresh celebration of beauty. Ranging from sculpture and thwarted functional pieces to mixed-media installations, these artists’ unique approaches, both materially and conceptually, will delight and astound viewers. Artists in the exhibition are Susan Collett, Laurent Craste, Jeremy Hatch, Sin-ying Ho, Claude Miceli, Julie Moon, Ann Mortimer, and Catherine Paleczny.
Watch this video for an overview of the exhibition.
10 Artists / 10 Years: Surveying work by Winifred Shantz Award for Ceramics Recipients
Celebrating the 10th Anniversary of the Winifred Shantz Award for Ceramics, this exhibition surveys key works created by winners of this prestigious award and demonstrates what is made possible when creativity is supported by visionary philanthropy. The Winifred Shantz Award for Ceramics supports highly promising early career professional ceramic artists to conduct intensive research at a pivotal moment in their careers. Works created before and after having won the Award will be on view. Past winning artists are: Susan Collett (Toronto), Laurent Craste (Montreal), Marc Vincent Egan (Toronto), Joan Bruneau (Lunenburg), Kate Hyde (Warsaw, ON), Ying-Yueh Chuang (Toronto), Rory MacDonald (Regina), Kasia Piech (Hamilton), Jasna Sokolovic (Vancouver), and Brendan Tang (Kamloops).
Watch this video of artist Susan Collett as she describes the impact of the Winifred Shantz Award for Ceramics.
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2011
Reflective Natures and Transparent Landscapes
July 10 to October 2, 2011
An exhibition of glass and ceramic sculptures and installations that poetically reinterpret our traditional views of nature at a time when human impact on the natural world has never been greater, and our relationships with an ever-changing landscape, never more fluid. Sculptors and eco-artists are Joan Brigham (US), Claire Brunet (QC), Jennifer Bueno (USA), Alfred Engerer (ON), André Fournelle (QC), Sadashi Inuzuka (BC), Benjamin Kikkert (ON), Catherine Paleczny (ON), and George Whitney (ON).
Click here to view a video about this exhibition.
To read a recent review of this show, please click here.
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Julie Oakes: Swounds
Curated by Christian Bernard Singer
April 10-June 26th, 2011
For many years Julie Oakes has used spiritual narratives derived from Eastern iconography, she now turns her attention to biblical themes and our relationship to nature as the basis of her seven-part installation in glass, clay, and aluminum. Swounds addresses the fragility, authenticity, and poignancy of life.
At the heart of the exhibition is a flock of over 100 glass sparrows suspended from the Gallery’s ceiling. Each day, one sparrow will fall and smash, adding to a pile of broken glass which will grow throughout the exhibition. A second piece combines a painting of an ark and 50 pairs of hand-painted clay feet depicting various species. An additional five works complete Swounds, which explores with viewers the relationship between concepts of spirituality and the reality of earthly violence.
The Swounds Catalogue is now available for purchase at the Clay & Glass Gallery Shop!
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April 10 to June 26, 2011
RCA Members Exhibition
Tying in with the RCA conference (May 20 weekend), the Gallery is exhibiting new clay and glass works and works from the Permanent Collection by selected members of the Royal Canadian Academy of Arts (RCA). Established in 1880, today’s Academy is composed of over 700 established professionals working across Canada in 20 visual arts disciplines; from painting and sculpture to architecture, design, fine craft, photography, and film making. Elected by their peers, members are recognized for their significant contribution through their work, to the visual arts in Canada.
Artist Credit: Penelope Stewart
While this exhibition does not comprehensively represent all of the RCA members working in Ceramics and glass, the exhibition presents new works by: Jane Buyers, Bruce Cochrane, Susan Collett, Sarah Link, Ann Mortimer, Penelope Stewart, and Wendy Walgate.
From our Permanent Collection are works by: Margot Ariss, John Chalke, Bruce Cockrane, Walter Dexter, Léopold Foulem, Irene Frolic, David Gilhooly, Steve Heinemann, Robert Held, Robin Hopper, Harlan House, Enid Sharon Legros-Wise, Mayta Markson, Richard Milette, Paula Murray, Peter Powning, Ann Roberts, Laurie Rolland, Maurice Savoie, Jim Thomson, and Ione Thorkelsson.
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BRASH SOPHISTICATION
Two American Pop Artists Redefine Minimalism
January 16 – March 27, 2011
Curated by Christian Bernard Singer
Exhibition sponsored by the Estate of J. Douglas McCullough
Glitz, glitter, and ‘camp,’ facilitate the road to self-help; Facebook provides a platform for self-expression; the inherent conundrums of contemporary life battle with established dogmas;and how the morning cup of coffee or picking the right shoes can be meaningful solutions to leading a better life.These questions and others are explored in two joyful yet thought-provoking exhibitions byAmerican artists Jim Hake and Amanda Dumas-Hernandez.
Originally from Baltimore, Jim Hake recently moved to Toronto after living in Italy for 13 years where his joyful and compelling works are well known.In Now and Never, Hake’s figurative sculptures and mixed-media work playfully incorporate recognizable images and references in order to set the stage for a series of revelatory surprises. Using beauty, humour, and formal composition, Hake explores ideas around social interaction and identity, while communicating a profound sense of optimism that viewers will find disarming and highly engaging.
Amanda Dumas-Hernandez, a conceptual artist and self-professed southern belle from Atlanta,Georgia, will delight and awe viewers with her exhibition, Joy Ride: The Golden Path to Enlightenment and Happiness. Embracing beauty, kitsch, and ‘camp’ in her series of sculptures and installations, Dumas-Hernandez offers the potential for introspection and metaphysical experience through her glittery mandalas while also providing multiple insights into the ‘bumpy life’ experience with hilarious absurdity.
Photo credits for Brash Sophistication images:
Artist: Jim Hake, Title: Face of Toronto, Credit: Karl Griffiths-Fulton (top)
Artist: Amanda Dumas-Hernandez, Title: Self-Reflection, Credit: Karl Griffiths-Fulton (bottom)
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2010
GLASS FACTOR
Luminaries in the Canadian Art Glass Scene
- Curated by Christian Bernard Singer
September 24th 2010 – January 2nd 2011
Fire and flame – heat, combustion, and sweat. Like one possessed, the artist’s muse, fury, and obsession merge to commune with the scowling rays of intense heat – not a place for the timid. Into the belly of the tank – a cradle of the beginning and end of time – the artist dips the blowpipe to gather the honey-like substance with its colour of white gold. Shaping the translucent liquid into an egg, a human breath awakens life in the form of a bubble. Whether the glass blower works alone or enlists the help of others in a choreographed ballet of master, aides, and apprentices, the creative possibilities are just beginning. Either way, the making is an act of exploration, curiosity, courage, love, and a testament to the artist’s responsive oneness with the material.
Works By:
Brad Copping Laura Donefer Susan Edgerley Alfred Engerer Irene Frolic Catherine Hibbits
David James Michèle Lapointe Lou Lyn Francis Muscat Susan Rankin Donald Robertson
John Paul Robinson Tyler Rock Karl Schantz Orest Tataryn Ione Thorkelsson Koen Vanderstukken
Image: Donald Robertson, “Ripple,” 2009, detail. Lost wax cast crystal, cut and polished. 7″ x 36″ x 7″.
Casting & Slumping & Blowing…Oh My!
June 13 to September 12, 2010
Curated by Christian Bernard Singer
Bruce Taylor: Historic allusions that are unlinkable to any specific era, cultural references without geographical place, and unidentifiable purpose are thoughts that come to mind when confronted by Bruce Taylor’s imposing ceramic sculptures. His series of human-scale vessels, Lucid Dreaming, oscillates between relic and portent – vaguely familiar yet mysterious elusive. The familiar, however, lies in his inspiration of industry and a 4000-year history of ceramic anthropomorphic vessels.
Joni Moriyama: The artist’s work tells stories but with no fixed narrative. In fact, Moriyama only sets the stage and the viewer is required to create their own stories. In her series of cast ceramic works, A Mob of Meerkats, Joni Moriyama has captured a potent moment in a clan of meerkats — one of the most co-operative societies in the animal kingdom. These highly-socialized beings all share in the rearing of the young within their group — taking turns to feed, watching for predators and guarding against intrusion from other clans. Moriyama sets the stage for anticipation but its subject remains somehow elusive. In this installation, a mob of meerkats are all staring in one direction, intently focused on something they have just seen, heard, or sensed, yet whatever it is, remains beyond our awareness.
Alfred Engerer, An Alfred Experience: As a way of demonstrating various processes of blowing and casting glass using moulds, a portion of Alfred Engerer’s glass studio will be installed in the Gallery. The exhibition will explore various processes of casting glass from blowing, casting, slumping, ladling, etc into moulds. What kinds of moulds are used, the various options available, and how a variety of artists are using unique approaches to create work. Engerer’s own work, some of his moulds, and technical examples showing the creation process from start to finish. The exhibition will be complemented by photos and videos showing Engerer and other artists in action with hot glass.
(top) Bruce Taylor, “Gilded Crucible,” detail, 2009. Ceramic, copper leaf, wood and casters. 66″x48″x34″
(right) Joni Moriyama, “Meerkat,” detail, 2010. Slip-cast earthenware. 19.25″ x 8.75″ x 4″
(left) Alfred Engerer, “City of Light,” 2010. Cast glass, silica sand, light box. 20″ x8′ x 3′. Photo Credit, Alfred Engerer.
Perspectives of Innocence
March 28 to June 6, 2010
Michèle Karch-Ackerman: The artist draws upon her own experiences and her family history to bring us FOUNDLING. Karch-Ackerman’s previous work has focused on remembering and honouring the memories of children from past centuries who passed away at early ages. In this exhibition, she shifts her focus from young children to young unmarried women who, after becoming pregnant, found themselves seeking help from places like Misericordia, an institution originally established as a home for unwed mothers. This exhibition centres around the difficult decisions and societal pressures faced by women who found themselves in such a position. Karch-Ackerman uses textiles found in these homes to create clothing for infants as a way to relieve some of the shame felt by women who lived there, and draw us into the largely neglected world unwed mothers in Canada during the 20th century. Foundling, draws upon her own family’s story while set against a backdrop of more recent history of women who, when faced with an unexpected pregnancy, found solace and help through the Misericordia Homes.
Susan Low-Beer, State of Grace: Low-Beer’s interpretive clay sculptures of young children capture the buoyancy, movement, and lightness of innocent joyful exuberance. Yet, they are suspended in mid-air – oscillating somewhere between jumping and landing – and time seems no longer relevant. They are in their own world of play and imagination, and their enigmatic expressions reinforce our inability to access their world – a dream world of childhood before rationality has managed to take root. Low-Beer’s intentional ambiguity about specifics such as race and gender adds much mystery, depth, and meaning.
Accompanying the installation are five other works from Low-Beer’s Force of the Moon’s Shell series. What began as a formal exploration of the circle, symmetry, texture, and transparency, evolved into a narrative revealing mysteries of the night moon.
Cristian Raduta, RHINOS: Romania is in a transitional period after 50 years of communism and its aftermath. Young artists are finding their voices by combining their individual views and experiences with the social and political environment and transferring these back into their work. Against this backdrop, Romanian artist Cristian Raduta likes to analyze the process of metamorphosis of widely-recognized forms into new esthetical dimensions. He is fascinated by what he terms “the confrontation of the bestiary” (a bestiary is a compendium of beasts made popular during the Middle Ages). His rhino sculptures hover over the realms of fables and myths, existing between their world and ours. Although whimsical and somewhat fantastical, yet seemingly timeless, they remain well-grounded and solid. They are Old World beasts that evoke earlier days when noble quests and mythological kingdoms informed rational thought.
(top) Michèle Karch-Ackerman, “Foundling,” label being stitched, 2010.
(left) Susan Low-Beer, “State of Grace,” detail. Installation View 2010. Various Dimensions.
(right) Cristian Raduta, “Rhinos,” 2007. Fibreglass, epoxy, paint, sand. 33″ x 20″ x 10″ each. Installation View.
Introspective Expeditions: Journeys to the Self
January 17, 2010 – March 21, 2010
Jane Adeney offers us Transubstantiation: Fire and the Search for Meaning. Adeney is known for her installations and ceramic sculptures that focus on controlled states of transformation and alchemical metamorphosis, an idea that she explores here through the medium of clay. Her fascination with the clay’s various stages of being, (malleability, firing, and smoking) mirrors her own examination of the various stages of personal passage, renewal, and the cycle of transformation. In this exhibition, Adeney uses images of fire to explore the uniquely human search for transcendental meaning by focusing on fire’s symbolic properties. Her work explores human existence and the symbolic purification of fire, which is able to reach into the depths of our inner selves, touching the internal worlds of our desires and, possibly, our fears.
Sin-Ying Ho: In the 21st century, the forces of political, technological and economic globalization have resulted in the merging of people from many nationalities and cultures. Ho’s One World/Many Peoples illustrates the course of such an encounter between colliding cultures and eras. The deconstruction and reconstruction of objects is a visual demonstration of the transformation that occurs when time and cultures collide. Ho draws our attention to cross-cultural experience by combining apparently divergent elements, such as hand painted and digital images, into single works of art. In this exhibition, Ho juxtaposes fragments of various Eastern and Western forms and imagery to comment on contemporary postcolonial theory, which critiques Imperial Europe through the examination of issues such as slavery, migration, race, gender, and place.
Louise Pentz: Throughout the ages, there has been a tradition of representing women and motherhood as an iconographic image of “Women as Vessel.” Usually symbolizing the ideals of fertility, purity, and the nurturing caregiver, these representations were as eternal yet lacked any human experiential dimension. In Broken … But Still Standing, Pentz uses smoke-fired ceramic sculpture to take us into a world of contradictions where mothering is a deeply personal journey full of on-going learning, teaching, and transformation. Pentz celebrates the strength of women throughout history, despite their often vulnerable positions. Here, women are represented as vessels of personal identity and experience, and our mothers’ legacies of strength, endurance, and faith inspire and guide our own individual journeys.
(top) Jane Adeney, “Controlled Burn,” 2007. Smoked-fired clay, glass, wood, findings, electrical and audio components. 15″ x 90″ x 90″
(right) Sin-Ying Ho, Various Works. Porcelain, hand-painted cobalt pigment and decal transfer glaze. Installation View, 2010. Photo Credit Wilhelm Nassau
(left) Louise Pentz, Various Works, Installation View, 2010
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2009
October 15 2009- Jan. 10 2010
Aganetha Dyck: Inspired by the large white artificial wigs that were worn by our ancestors and the masks they carried or wore at festive balls, the artist wanted to explore how masquerades altered their guests’ behaviours – how ‘masking’ would have given them freedom to be different (or even pretend to be someone else entirely) – to dance, flirt, have engagements, and receive and give proposals – decent or otherwise. From the artist’s MMasked Ball Series.
Lindsay Craig: The artist’s installation of glass and porcelain sculptural dolls addresses issues of identity, femininity, and popular culture. Entitled Playing with Dolls, the series refers back to the artist’s childhood proclivities while carrying multiple conceptual layers from various and disparate sources that are open to a variety of interpretations as they incorporate influences of religious, mythological, and pop culture imagery.
Carole Epp: In A Collection of Innocent Crimes, Epp manipulates the figurative collectible into sculptures that are rich with narrative and metaphor. Each work is used as a tableau for the presentation of politically and socially charged subject matter and the collectible reference was in part due to its representation of aspects of childhood and nostalgia, kitsch, stereotypes, and most importantly – consumption.
(top) Aganetha Dyck, “Chess,” detail, 2008. Readymade porcelain figurine, wax, honeycomb. 24.13 x 33.02 x 17.78cm (right) Lindsay Craig, “Pottery Shard Mask,” detail, 2007. Bronze, porcelain doll. 7″ x 9″ (left) Carole Epp, “They now saw what his idle hands could do,” detail, 2008. Ceramic, wood, and glass dome. 8″ x 5″
COSMOS: Cedric Ginart
The artist makes strange antique devices and contraptions. The unusual objects seem to exist somewhere between the worlds of science and the outrageously fantastic. Inspired by actual instruments that might have been used by Galileo, Copernicus, and Leonardo da Vinci, Ginart’s works appear humorous yet archaically functional. The works explore ideas about how humans observe and perceive the world around them. At the heart of the exhibition, are a series of 7 bells in which new planets are being ‘cultivated’ and viewers may witness their various stages of growth.
GILBERT POISSANT
Variations on Discs, Spirals, & Xuanjis
June 28th – October 4th, 2009
FROM THERE TO HERE…FROM FAR & NEAR
From There to Here
April 19, 2009 – June 21, 2009
ANNIE E. BROWN: IN MEMORY
Annie E. Brown: In Memory
February 1, 2009 – April 12, 2009
CESAR FORERO
Cesar Forero: Gamin (Juanito’s Story)
February 1, 2009 – March 1, 2009
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2008
ORNAMENT
Lyndal Osborne, Christine Davis, Michelle Lapointe,
Tanya Lyons, Ted Gooden
September 21, 2008 – January 25, 2009
TOUCHED
Michael Jacob Ambedian, Aganetha Dyck, Stephen Hawes,
Mark Jaroszewicz, Tina Poplawski
June 15 To September 14, 2008
Denise Pelletier, Laura Donefer, Susan Edgerley
June 15 To September 14, 2008
MEANING MEMORY MILIEU
Mary Anne Barkhouse: Boreal Baroque
March 30 – June 8, 2008
Christian Bernard Singer: A Cabinet of Curiosities
March 30 – June 8, 2008
Sarah Saunders: Passages
March 30 – June 8, 2008
STRUCTURES
Ruth Chambers: Temporary Adornment
January 27 – March 23, 2008
Paul Matosic: Cutting Edge
January 27 – March 23, 2008
Vanessa Yanow: Crucial Minutae
January 27 – March 23, 2008
Waterloo Potters Workshop: 40th Anniversary
January 27 – February 10, 2008
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2007
Maurice Savoie: Pharos
September 9 – November 9, 2007
Judy Chicago: Chicago in Glass
September 9, 2007 – January 13, 2008
Donald Maynard: Falling to Pieces
September 9, 2007 – January 13, 2008
Yuichiro Komatsu: Spatial Juncture
September 9, 2007 – January 13, 2008
Kai Chan: From Sea to See
June 10 – August 26, 2007
Joseph Hubbard: 25 Years of Provocative Questions
June 10 – September 1, 2007
Lou Lynn: Implements & Objects
June 10 – August 26, 2007
Deduction: Anong Migwans Beam & Susan Collett
June 10 – August 26, 2007
Jacqueline Berting: Frozen Moments
April 15 – June 3, 2007
Chris Dorosz: The Painted Room
April 15 – June 3, 2007
Miyuki Shinkai: Kokoro
April 15 – June 3, 2007
3,500 Years of Creative Work: Miracle of Glass Curated by Wilhelm Nassau
April 15 – June 3, 2007
Shary Boyle: Aspects & Excess
January 14 – April 8, 2007
Stuart Reid: Stumbling Home from Banff
January 14 – April 8, 2007
Robert Youds: small artifical fields
January 14 – April 8, 2007
Univ. of Waterloo Ceramic Students: Somewhere Over the Rainbow
January 14 – February 11, 2007
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2006
Paul Stankard: Death, Sex & God
September 10, 2006 – January 7, 2007
Jane Buyers and Mary Catherine Newcombe: Into the Woods
September 10, 2006 – January 7, 2007
Maija Peeples: Laughing Owl The Way
September 10, 2006 – January 7, 2007
Cara Driscoll, Louise Pentz & Steve Smith
Mutatione Mirabeli September 10, 2006 – January 7, 2007
Josh Simpson: Visions of our Galaxy
June 4 – September 3, 2006
Ceramic Work from Rankin Inlet
June 4 – September 3, 2006
19th and 20th Century Paperweights from the Permanent Collection of the Canadian Clay & Glass Gallery
June 4 – September 3, 2006
Tim Whiten: ….as it is…. (French text)
April 9 – May 28, 2006
Tina Poplawski: Mandala Snowflake (French text)
April 9 – May 28, 2006
Jeremy Hatch: Tree House (French text)
April 9 – May 28, 2006
Calm, Cool & Collected: What is a Permanent Collection? (French Text)
April 9 – May 28, 2006
Brent Bukowski and Kathryn Ward: Fragile Nature
January 15 – April 2, 2006
Scott Silverthorn and Dick Averns: Neon
January 15 – April 2, 2006
Karina Guevin: Phantastique
January 15 – April 2, 2006
Cesar Forero: Las Farc Did It
January 15 – February 12, 2006
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2005
Wheel of Time: Historic and Contemporary Buddhist Artefacts
Sept 11, 2005 – Jan 8, 2006
Sand Mandala (French text)
Reading list on Buddhism
September 11, 2005 – January 8, 2006
Alex Yueng: Searching For Offering Hands (French text)
September 11, 2005 – January 8, 2006
Anita Rocamora: Vessel-Essence (French text)
September 11, 2005 – January 8, 2006
Peter Sloan: Layers (French text)
September 11, 2005 – January 8, 2006
Fireworks 2005 (French text)
May 27 – September 4, 2005
Contemporary First Nations Clay
May 27 – September 4, 2005
Earthborn from the Waterloo Potters’ Workshop
May 27 – September 4, 2005
Bruce Flowers: Clay Pride
May 27 – September 4, 2005
Cesar Forero: The Four Elements (French text)
May 27 – September 4, 2005
Christian Bernard Singer: Tessellated Anamnesis – Patterns For Unforgetting (German text)
March 20 – May 18, 2005
Graduate glass class from Sheridan College: The Breathing Room
March 20 – May 22, 2005
Alexandra McCurdy: The Ties That Bind
April 17 – May 22, 2005
Kasia Piech and Wendy Walgate: Symbol and Story – An Exploration of Faerie Tales (Spanish text) (German text)
January 9 – March 11, 2005
Vikky Alexander, Laura Donefer and Roman Bartkiw: Mirror, Mirror
January 9 – March 11, 2005
Artists from the Permanent Collection who paint: Scope
January 9 – February 6, 2005
Many To One
January – June, 2005
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2004
Carl, Ann and Anong Beam: It’s All Relative
October 9, 2004 – January 3, 2005
Karen Fletcher & Isabella Stefanescu: Ètudes/Studies: Two Ways of Working from a Model
October 9, 2004 -January 3, 2005
Susan Collett and Laurent Craste: Winifred Shantz Award Past Winners
September 16, 2004 -January 3, 2005
From Hands to Lips
August 5 – October 3, 2004
Heather Wood and John Kepkiewicz: Form and Surface: A Survey of Thorn Glass 1984 – 2004
July 3 – September 25, 2004
2004 Graduating Class from Sheridan College Glass Studio: In Direction
April 10 – June 20, 2004
Ione Thorkelsson: Fragments and 2 partial reconstructions
March 6 – June 17, 2004
Recent Acquisitions
March 6 – June 17, 2004
From the Permanent Collection
March 6 – June 17, 2004
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2003
Mark Thompson: Autonomous Glassworks
November 29 – February 22, 2004
Island Inspirations from Bornholm
September 13 – November 16, 2003
Magnifying Glass – Contemporary Canadian Glass
September 13 – November 16, 2003
Genius Loci – 10th Anniversary Exhibition
May 24 – August 31, 2003
Jonas Stonkus: Arcadian Lights
January 11 – May 11, 2003
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2002
10th National Biennial of Ceramics: Autoportrait
September 14 – December 24, 2002
Kye-Yeon Son: Reliquary for the Heart
September 14 – December 24, 2002
Susan Low-Beer: Rocksbreath II
June 25 – August 31, 2002
Brian McArthur & Dawn Detarando: Romantic Woodland Caribou
June 15 – August 31, 2002
TEMMOKU: Iron rich glazes in Canadian use
June 14 – August 31, 2002
Sarah Link: FARM
April 20 – August 31, 2002
Jim Thomson: Fire At Both Ends
January 12 – March 31, 2002
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2001 and earlier