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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.

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:

Public Art in Glass

Warren Carther, Sarah Hall, Robert Jekyll, Michèle Lapointe

January 11 to June 7, 2020

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 June 7, 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.

Material Syntax: 3D Printed Masonry Façade Systems

January 11 to April 2020
Exhibition coordinated by David Correa and Yesul Elly Cho

University of Waterloo Architecture students test how building facades of the future can be 3D printed with clay. Inspired by nature, ancient architectural traditions and new technology, the students develop new methods and processes that re-envision the clay masonry unit.

Working with a state-of-the-art large-volume clay extrusion 3D printer, Assistant Professor David Correa’s students set out to explore how this highly used building material can be re-envisioned for the future. This fabrication tool allows for an unprecedented level of design freedom when compared with conventional brick-making methods, while still engaging the material properties and characteristics of traditional clay.

The result is a series of 7 prototypes that test the new architectural qualities of 3D printed facades, where each clay brick can be unique. The projects include a wide range of playful wall systems, ornamental and light-modulating cladding systems, as well as rainscreen and solar-shading facades.

Participants: [Salman Rauf, Julie Niu, Kevin Kunnappilly], [Nathanael Scheffler, Kelsey Dawson, Mia Milanovic], [Prateek Wason, Nupur Garg, Camilla Vespa], [Jade Manbodh, Nima Karami, Ethan Schwartz], [Isabel Kim, Yi Ming Wu, Andrew Kenny], [James Clarke-Hicks, Isabel Ochoa, Zaven Titizian], [Emma Moseley, Kelley Gu].

Special thanks to: Andrew Payne, Conroy Murray, Judy Pryma, Denis Longchamps, Elsa Brittin, Kristin Schreiner, Heinz Koller, Michael Syms, Anne Bordeleau, Emily Stafford, Jessica Steinhauser, Rose Mary Aicher, Ye Sull Elly Cho, Jim Shi, Geoff Farrow.

This exhibition is made possible by Masonry Ontario in partnership with the School of Architecture, University of Waterloo and The Canadian Clay & Glass Gallery.