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Current Exhibitions

The Canadian Clay & Glass Gallery is reopening to the public on July 2, 2020. We have new procedures for visitors related to COVID-19. For more information, click here to view our most recent updates.

Emerging Talent Series

Featuring Emerging Artist Amee Raval

Breaking the Mold: Amee Raval

July 2 to September 20, 2020

Amee Raval, Sinking the Patriarchy, Cast glass, 2019. Courtesy of the artist.

In the nostalgia and mystique of cultural identity, Amee Raval introduces feminist, progressive ideals to her Hindu, Indian heritage. Through traditional temple architectural forms that have been reproduced and altered in lead crystal and clear glass, she balances a respect and acknowledgement of tradition with new opportunities and ways of living for women. Goddesses, Rangoli mandala forms, and decorative panels provide an avenue through which she breaks the mold of patriarchy that defines her heritage and seeks to elaborate on accepted norms that are forced upon women.

Through kiln-formed glass, Raval alters the traditional mediums, forms, and genders of temple architecture in creative and striking juxtapositions of heritage and progress. While maintaining the core elements that she holds dear, her modifications bring older generations together with young, progressive women. It is in the subtle alterations from traditions that we find something special, a hope for new opportunities and ideals.

A digital version of this exhibition can be viewed by clicking here.

This exhibition is presented as an installment in the Canadian Clay and Glass Gallery’s Emerging Talent Series, which provides a space for emerging artists, curators, and writers, presented in the Mutual Group Tower Gallery. This series is generously supported by:


Sharing Experiences: Focus for Ethnic Women

July 7, 2020 to August 2020

Pictured: Nastaheo, Roza, Soso, and Jacqueline

In February 2020 we launched a new outreach program to connect with our communities. On invitation, various groups come to the gallery and communicate a lived experience through a free workshop in clay. The lived experience is based on themes discussed with the leaders and the participants of each community group. The work created is then presented to the community at large with an exhibition and a publication. The first community group we invited was Focus for Ethnic Women, and their exhibition was planned to open April 6, 2020.

Unfortunately, Covid-19 forced us to adapt to new realities. We are pleased to present their exhibition, Sharing Experiences, online and now on display in our lobby. We thank John and Rebecca Short for their support of this program. We do hope that this program will not only allow us to strengthen the existing bonds between our gallery and community partners we already have, but also new ones and allow for new friendships to be forged between the participants.

Click here to view a digital version of the exhibition.


From the Collection:

July 27 to October 15, 2020

Blackburn & Ostermann

Featuring works from the Canadian Clay & Glass Gallery Permanent Collection as well as works from a private collection, this Lobby Exhibition brings together ceramics by Quebec ceramists Jeannot Blackburn and Matthias Ostermann.

Recognized as an important queer Quebec ceramist, Jeannot Blackburn died prematurely in 1996 due to AIDS-related complications. He is known for his emphasis on the human form and campy extravagance, bringing political and social issues to the forefront in subtle—and not so subtle—ways through his work. With extravagant colours and patterns as well as whimsical forms, the exuberance of his work immediately attracts attention.

Matthias Ostermann’s colourful, playful and dynamic works are instantly identifiable by their figurative decoration and sgraffito technique. Frequently depicting male and female figures as well as animal and hybrid forms such as mermaids and mermen, his works border between the playful and sexual, particularly in the context of the beginnings of the gay liberation movement of the 1980s and 90s.

Jeannot Blackburn, “Torso Teapot”, 1981, Porcelain. Canadian Clay & Glass Gallery Permanent Collection, Gift of Joseph Alchorn, in Memory of the Artist. Photo by Peter Flannery.

Ardmore Ceramics

Bongy & Gertrude (Ardmore Ceramics), “Guinea Hen Cream Pitcher”, Ceramic, 1999, Canadian Clay & Glass Gallery Study Collection. Gift of Lucie Edwards and Tom Roach.

Featuring African ceramic works from our permanent collection, these pieces are largely made by artists at Ardmore Ceramics, a studio founded in 1985 in South Africa. Ardmore has gained international attention in the years since, growing to include many artists, international exhibitions, design partnerships, and a fund to support their artists living with HIV/AIDS.


Public Art in Glass

Warren Carther, Sarah Hall, Robert Jekyll, Michèle Lapointe

January 11 to September 20, 2020

Extended to September 20!

This exhibition is also presented online. Click here to view the digital exhibition!

Art has been used in the public sphere for centuries to embellish, to commemorate people and events of historical importance, to educate, to assert power. Today, public art often focuses on local community values where it transforms the surrounding landscape to highlight issues and questions of the moment. The art of stained glass developed rapidly during the Middle Ages, mostly by illustrating biblical scenes in European churches and cathedrals. Eventually, stained glass windows were also used in secular buildings. To this day, the art of stained glass is used in public buildings of all kinds. In the past, most standalone monuments and sculptures were of stone, marble, concrete or metal. With the development of new techniques and technology, glass can be used in sculptural form to create statement pieces that play on strength and fragility, transparency and lightness; qualities unique to glass.

A catalogue for this exhibition is available in the Gift Shop or online.

Left to Right: Sarah Hall, Lux Nova, Regent College, University of British Columbia, 2007; Michèle Lapointe, Maquette for L’insoutenable légèreté de la plume, l’école maternelle et primaire le Parchemin de Carignan et Montérégie, 1998; Robert Jekyll, Sketch for Centennial Project, Humberside Collegiate Institute, 1992; Warren Carther, Aperture, Winnipeg International Airport, 2011.

On Collecting Clay and Glass

Mid-December 2019 to September 13, 2020

Most of the Canadian Clay and Glass Gallery’s acquisitions are received as donations either from artists directly, or from corporate and private collections. On Collecting Clay and Glass presents four private collections to show a small sample of the diversity that these mediums offer. It includes works from the visual arts, craft, design and the decorative arts. Collecting can take many forms based on one’s personal taste and interest. For that reason, private collections are often more varied and will include, apart from clay and glass objects, paintings, textiles and furniture, prints, drawings and sculptures. For this exhibition, we selected a variety of pieces from two collections, and focused on a specific object for the other two, illustrating some of the possibilities of the intellectual and aesthetic pursuits of their owners.

A catalogue for this exhibition is available in the Gift Shop or online.

Left to Right: Emily Brock, Books and Coffee, 2016, Collection of Jamie Cameron and Chris Bredt; Murano, Italy, Pair of Glass Pheasants, c. 1950, Collection of Arlene Christiansen; Unknown Artist (Chinese), Peacock Teapot, 19th Century, Collection of Jonathan Smith; Chamberlains Worcester, Anti Slavery Soup Tureen and Underplate, 1832, Private Collection.