The Gallery has reopened! Come see our new exhibitions, or click here to view our digital exhibitions from wherever you are!
2021 Winifred Shantz Award for Ceramics
September 15, 2021 to January 16, 2022
2021 Winner: Jocelyn Reid
2021 Finalists: Mitsuo Kimura, Matthew O’Reilly, & Jessica Sallay-Carrington
2020 Winner: Joon Hee Kim
To view a digital version of this exhibition, click here.
The 2021 Winifred Shantz Award for Ceramics Winner, Jocelyn Reid of Calgary, Alberta, is celebrated in this exhibition alongside finalists Mitsuo Kimura (Toronto, ON), Matthew O'Reilly (Calgary, AB), and Jessica Sallay-Carrington (Montreal, QC), as well as the 2020 Award Winner, Joon Hee Kim of Oakville, Ontario.
The Winifred Shantz Award for Ceramics is supported by The Keith and Winifred Shantz Fund for the Arts, held at Kitchener Waterloo Community Foundation. This prestigious $10,000 award allows practising early career ceramic artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. This year's award was juried by Amy Gogarty, Maja Padrov, and Susan Surette.
Le Prix de la céramique Winifred Shantz 2021, Jocelyn Reid de Calgary, Alberta, est célébrée dans cette exposition avec les finalistes Mitsuo Kimura (Toronto, ON), Matthew O'Reilly (Calgary, AB), et Jessica Sallay-Carrington (Montréal, QC), de même que la gagnante du Prix 2020, Joon Hee Kim d’Oakville, Ontario.
Le Prix de la céramique Winifred Shantz est présenté annuellement par le Musée canadien de l’argile et du verre et est soutenu financièrement par le Keith and Winifred Shantz Fund for the Arts administré par la Kitchener Waterloo Community Foundation. Le prestigieux prix de $10,000 permet à un artiste en céramique en début de carrière d’entreprendre une recherche indépendante, ou tout autre activité pour l’avancement de leur pratique professionnelle. Cette année, le jury pour le prix était composé d’Amy Gogarty, Maja Padrov, et Susan Surette.
Good Earth: The Pots & Passion of Walter Ostrom
July 17 to December 31, 2021
Co-curated by Dr. Sandra Alfoldy, Shannon Parker, and Dr. Julie Hollenbach
Energy. Enthusiasm. Knowledge. Honesty. Inspired. Ardor for material. These are the terms that describe Walter Ostrom and his relationship with clay. They can also be summed up in one word: Passion.
Passion is a simple word and yet the immense complexity of it as a concept is at the core of Ostrom and from it flows the worldwide mosaic of his relationships, his incredible devotion as an educator, his drive for knowledge, and his love for creativity in all aspects of his life, but particularly for pottery.
Walter Ostrom is one of Canada’s foremost ceramic artists. He revolutionized clay from ethical brown earthenware to colourful, bright maiolica and inspired generations of ceramists who follow him to this day. This exhibition investigates Ostrom’s earliest work in stoneware and porcelain, his conceptual projects at NSCAD University, the many ways his love of gardening—and particularly rhododendrons—influenced his work, the huge impact China and its ceramic traditions and ceramists had on his life and practice, and his lifetime commitment to the exploration and reinvigoration of the ancient ceramic tradition of tin-glaze.
Good Earth examines Ostrom’s practice of altering form, surface treatments, and the rich elements of social commentary, geographic references, art history, and political statements he imbues in his work. An inspired instructor for over 40 years, Ostrom’s influence on a selection of his many celebrated students is also reflected in this exhibition.
Ostrom is celebrated internationally with galleries dedicated to the collection and presentation of his work in Canada, the United States, Europe and China. This bilingual touring exhibition is the first major retrospective to chronicle Ostrom’s career and impact on the field of global ceramics.
Organized and circulated by
the Art Gallery of Nova Scotia
Capacity for Wonder: Meghan Sims
September 25, 2021 to December 31, 2021
As light bends and reflects through glass, dazzling sights and experiences can appear. While glass art often emphasizes form and striking colours, Meghan Sims takes a different approach, using the interactions between glass and light to share her unique way of seeing the world around us. Born with Achromatopsia, a rare visual condition, Sims is colourblind, near-sighted, and extremely light sensitive. In her installation, Capacity for Wonder, Meghan Sims explores the concepts of perception, light, and shadow that have inspired her unique artistic style.
While light often enables us to see, for those with Achromatopsia, light washes out vision and destroys all detail. This prevents Sims from working as most glass blowers do, instead using mirrors and dark, red-tinted filters to watch the glass in the furnace. Unable to clearly see her piece, Sims relies on a sense of feel and weight-distribution of the glass on the pipe as she works, adapting to meet the challenges of glassblowing with her unique vision. In these new sculptural pieces, the focus is no longer on the form itself, but on the atmosphere created through the ways in which light and glass interact. In the dimly lit gallery space, it is the magnification, refraction, and reflection of light, glass, and shadow that enables us to get a glimpse of the wonder of Meghan Sims’ world.
Avec la lumière qui reflète et traverse le verre, des vues et des expériences éblouissantes peuvent apparaître. Alors que l’art du verre met souvent l’emphase sur la forme et les couleurs frappantes, Meghan Sims prend une approche différente, utilisant les interactions entre le verre et la lumière pour partager sa façon unique de voir le monde autour de nous. Née avec une condition visuelle rare, l’achromatopsie, Sims est daltonienne, myope et extrêmement sensible à la lumière. Avec son installation, La capacité d’émerveillement, Meghan Sims explore les concepts de perception, de lumière, et d’ombre qui ont inspiré son style artistique unique.
Alors qu’habituellement la lumière nous permet de voir mieux, pour ceux qui souffre d’achromatopsie la lumière blanchit la vision et efface tous les détails. Ceci empêche Sims de travailler comme la majorité des souffleurs de verre le font. Elle utilise des miroirs et des filtres rouge foncé pour regarder le verre dans la fournaise. Incapable de voir ses pièces, Sims se fit à la sensation et à la distribution du poids du verre sur sa canne alors qu’elle souffle, adaptant son unique vision aux défis du soufflage de verre. Dans ces nouvelles sculptures, l’accent n’est plus sur la forme même, mais plutôt sur l’atmosphère créée par les manières dont la lumière et le verre interagissent. Dans la galerie faiblement éclairée, c’est le grossissement, la réfraction, et la réflexion de la lumière, du verre, et des ombres qui nous donnent un aperçu des merveilles du monde de Meghan Sims.
This exhibition is presented as part of the Emerging Talent Series and is generously supported by The Musagetes Fund held at Kitchener Waterloo Community Foundation and The C3 Group of Companies.
The artist gratefully acknowledges the support of the Region of Waterloo Arts Fund
September 25, 2021 to January 9, 2022
Candice Boese & Nadira Narine
Curated by Kat Looby
In Relation is an exploration of the people and situations that give us a sense of family. Family can come down to the moments we spend with the ones we love, whether we are related or not. Connection to those around us is what grounds us and helps give us a sense of who we are. It is the place where we hold each other’s hearts.
The artists, Candice Boese and Nadira Narine, are coming at the topic from the sense of comfort and that of loss. But whether through loss or peace, the memory of family ties these two artists, and us the viewers, together into something bigger.