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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
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
As our urban environments grow and become increasingly dense, it is becoming more and more clear that there are not enough accessible green spaces. Particularly over the past 18 months with the spread of COVID-19 and limitations on indoor gatherings, many have struggled to find outdoor spaces to enjoy and gather, especially within lower-income communities. Becky Lauzon’s Green Living installation is composed of hand-blown and engraved glass cones planted with a range of grasses and wildflowers arranged on found materials. Together, it offers a juxtaposition of our natural and urban environments. For Lauzon, the lack of green space in our communities is detrimental to both our mental and physical health, while harming the natural ecology of our environment.
Over the course of the installation, the plants will grow in the cones, rising above their rims and reaching into the space, naturalizing the courtyard environment and blooming to offer nectar for pollinators. Through their cone shape, the glass vessels will act as their own ecosystems, using condensation and the small opening at the top to regulate their own environments. The engravings on the vessels, bustling city skylines without any break in their overwhelming repetition, will be overcome by the green stalks and leaves growing inside, eventually filling the space and fighting for our attention.
Alors que nos environnements urbains s’élargissent et deviennent de plus en plus dense, il devient de plus en plus évident qu’il n’y a pas suffisamment d’espaces verts. En particulier au cours des 18 derniers mois, avec la pandémie et les limites imposées sur les rassemblements intérieurs, beaucoup ont eu du mal à trouver des espaces extérieurs pour flâner et se rassembler, particulièrement dans les communautés à faible revenu. L’installation Écoresponsable de Becky Lauzon se compose de cônes de verre soufflé, gravés, et disposées sur des matériaux trouvés, dans lesquels sont plantés des herbes et des fleurs sauvages. Pour Lauzon, le manque d’espaces verts dans nos communautés nuit à notre santé mentale et physique, tout en nuisant à l’écologie naturelle de notre environnement.
Au cours de l’installation, les plantes vont poussées dans les cônes, s’élevant au-delà du rebord pour naturaliser l’environnement de la cour intérieure, et fleurissant pour offrir du nectar aux pollinisateurs. La forme des cônes en verre agira en tant qu’écosystème, utilisant la condensation pour arroser les plantes, et la petite ouverture pour régulariser leurs propres environnements. Les gravures sur les cônes de verre –des horizons urbains animés et sans interruption dans leur répétition écrasante –seront recouvertes par les branches verdoyantes venant de l’intérieur, pour éventuellement remplir l’espace et lutter pour notre attention.
Material Syntax: 3D Printed Masonry Façade Systems
July 14 to September 15, 2021
Exhibition coordinated by David Correa, Isabel Ochoa and James Clarke-Hicks
Participants: Ali Khaja, Carlo Rosel, Carrie Perreault, Sarah Miri, Fatima Jahanmiri, Manav Kelawala, James Clarke-Hicks, Isabel Ochoa, Ye Sul E. Cho, Ji Shi, Meghan Taylor, and David Correa
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 exhibition includes 3 different project types: Student Investigation, Graduate Thesis Research, and a Research Partnership Commission.
Special thanks to: Andrew Payne, Conroy Murray, Dean Garbutt, Joanne Chan, Bruce Freeman, Heinz Koller, Michael Syms, Anne Bordeleau, Emily Stafford, Erika Gorski and Denis Longchamps.
This exhibition is made possible by Masonry Works Council of Ontario in partnership with the School of Architecture, University of Waterloo and The Canadian Clay & Glass Gallery.