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Past Exhibitions

Public Art in Glass

Warren Carther, Sarah Hall, Robert Jekyll, Michèle Lapointe

January 11 to September 20, 2020

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.

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:

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.

Rocks in My Head: Carol Rossman

January 11 to April 2020

Working in raku, one of ceramics’ most unpredictable mediums, Carol Rossman’s scientific method and carefully planned designs bring life and natural forms to the vessels and sculptures that she creates. Rossman is influenced by the American Southwest landscapes of Arizona, Utah, and New Mexico where she rides trails each year. In her recent works, she captures the colours, textures, and emotions of these unique vistas that include flowing canyons and rock formations, crackling desert earth, and native flora.
Rossman has been a ceramist for more than forty years. Influenced by her previous career as a medical researcher through the intense planning and experimentation of her technique, Rossman has mastered the art of raku in a way that few artists have. And yet, the unpredictability of the unique firing process of this medium can present surprising results at every turn, creating a sublime beauty and uncertainty that itself mimics the natural and unconquerable aspects of the landscapes that are her passion and inspiration.

This is the second instalment 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:

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.

From the Collection: A Bestiary

September 21, 2019 to January 5, 2020

Image: Bird Paperweight, 1986. Glass. Rick Ayotte. Canadian Clay & Glass Gallery Collection. Gift of the Ruth & Lewis Sherman Foundation. Photo: Wilhelm Nassau.

The Canadian Clay & Glass Gallery is pleased to present works from its collection as part of A Bestiary. From the beginning of time, the animal world has found its way into the art of humankind in various ways. Animals, fish and birds are, for some, the embodiment of deities; for others they act as metaphors for life experiences. In this exhibition, we look at ceramic, glass and enamel artists who explore the animal world metaphorically, symbolically, with humour and with technical mastery to highlight human concerns and emotions.

The exhibition includes works by: Ardmore Ceramic  Art (South Africa), Rick Ayotte, Baccarat (France), Harold Balazs, Roman Bartkiw, Ann Beam, Carl Beam, Florence Chik-Lau, Daniel Crichton, Ed Drahanchuk, Joe Fafard, David Gilhooly, Jim Hong Louie, Věra Lišková, Janet Macpherson, Leo Mol, Joni Moriyama, Julie Oakes, Orient and Flume Studio (USA), Matthias Ostermann, Perthshire (Scotland), Ann Roberts, Michael Robinson, Ed Roman, Maurice Savoie, Jamie Sherman, Nick Sikkuark, Natalie Silverstein, Steve Smith, Leigh Smith, Paul Stankard, Tim Storey, Jack Sures, Joan Van Damme, Wendy Walgate and Ruth Welsh.

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

Emerging Talent Series

Featuring a partnership between emerging artist Shawna Redskye and emerging curator Chloe Blair.

A Remembering: star stories and waterbodies

September 21, 2019 to January 5, 2020

Image: 2019. Grogged white cone 6 clay and underglaze. Shawna Redskye.

A Remembering: star stories and waterbodies, represents a creative partnership between artist Shawna Redskye and curator Chloe Blair.

The exhibition will focus on the experiences of displacement, colonization and navigation that are shared by so many. As we continue to face displacement from our ancestral lands, it is our water bodies, our languages, our food systems, and the stars that continue to hold the sacred role of navigation.

There are many forms of displacement; geographical, cultural, spiritual. Ongoing colonial violence is just that; active displacement of ourselves from our ancestral lands, our bodies, our ways of knowing. All of which are explored in this body of work.

Our vessels are inherently connected to the stars and water. It is the stories held in the stars that have long guided our ancestors; informing movement, planting, prayer. Our waterbodies are our vessels; reliant on water for breath, for life.

Resonance is an act of remembering.”

The Gallery inaugurates a new series of exhibitions that will showcase emerging artists, curators or writers. The Emerging Talent Series, presented in the Mutual Group Tower Gallery, is generously supported by:

2019 Winifred Shantz Award for Ceramics

September 21 to November 17, 2019

Image: Creek & Crossing, 2013. Glazed earthenware and internal digital video projection on sanded mirror, carved wooden chairs, milk paint. Nurielle Stern.

The 2019 Winifred Shantz Award for Ceramics Winner, Nurielle Stern of Toronto, Ontario, is celebrated in this exhibition alongside finalists Trevor Baird (Montreal, QC), Naomi Clement (London, ON), Grace Han (Winnipeg, MB), Joon Hee Kim (Oakville, ON), Jocelyn Reid (Calgary, AB) and Zane Wilcox (Regina, SK).

The 2019 Winifred Shantz Award for Ceramics was juried by Pascale Girardin, Michele Hardy and Rory MacDonald. The jury would like to acknowledge a very competitive field of emerging ceramic artists who applied. The jury is unanimous in selecting Nurielle Stern as the recipient of this year’s award.  In her work, Stern demonstrates a combination of daring, rich investigation of narrative and subject matter and a mastery of her craft. The jury was impressed with the quality of her strong exhibition production combining work of installation and display as well as the strength of her proposed award project.  As part of her project, Stern will produce large-scale ceramic sculptures for exhibition, beginning with her participation in a residency at the California State University Long Beach Center for Contemporary Ceramics.

For more information about the Winifred Shantz Award for Ceramics, its sponsor, and previous winners, click here.

About the Winner

Nurielle Stern is a ceramic sculpture and installation artist and a graduate of Alfred University’s renowned MFA program in Ceramic Art (2014). She has also studied ceramics at Sheridan College and holds a BFA in Sculpture and Installation from OCAD University. Stern’s most recent exhibition, Unswept Floor (Tesserae), was commissioned by the Gardiner Museum in response to Ai Weiwei: Unbroken. Her first collaborative exhibition with artist Nicholas Crombach, entitled Whale Fall, opened at the Canadian Clay & Glass Gallery for the summer of 2019. Stern’s upcoming exhibition  includes a large-scale commission for Gardiner Museum’s new Joan Courtois Gallery to be installed this coming fall.

About the Finalists

Large Vase 13, 2019. Underglazed and stained porcelain. Trevor Baird.
Ziggurat 3.7, 2017. Reduction fired stoneware, copper, paint. Zane Wilcox.
Pillow Platter, c. 2019. Hand-built stoneware with underglaze decoration. Naomi Clement.

Trevor Baird b.1990 lives and works in Montreal, Quebec. He holds a BFA from Concordia University and has been exhibited in Mexico, Canada, and The United States, most recently at the Eli and Edythe Broad Museum, Lansing; The Hole, New York; Arsenal Contemporary, Toronto and Projet Pangée, Montreal. He has attended residencies at the Banff Centre and the Rozynski Arts Centre and is featured in print in The Editorial Magazine, FREAKER UNLTD 1-3, and others.

Naomi Clement is an artist and educator who explores ideas of home and belonging through the powerful lens of functional ceramics. She received her MFA from Louisiana State University in 2017, and has participated in residencies, given lectures and workshops, and exhibited her work across North America. Naomi was named a 2017 Emerging Artist by Ceramics Monthly magazine, and her work was featured on the cover of the September 2018 issue of the magazine.

Grace Han is a ceramic artist originally trained in Seoul, South Korea. She received her Bachelor of Fine Arts from Dankook University where she specialized in traditional Korean Ceramic techniques and skills. She immigrated to Canada in 2011 and received her Master of Fine Arts from University of Manitoba. Now she is pursuing her career as a ceramic artist in Canada, her new home.

Joon Hee Kim is a Canadian artist originally from Seoul, Korea. She studied design and patisserie, before becoming intrigued with ceramics at Sheridan College, extending to metal during her MA of Fine art in the UK. Her professional practice was also taken to Europe and Japan. Brimming with personal anecdotes and engaging narratives, her work has been exhibited in Canada, USA, and UK. Her latest solo exhibition took place at the Canadian Clay & Glass Gallery during the summer of 2019.

Jocelyn Reid is an artist from Calgary, Alberta. Reid received her Bachelor’s Degree from the Alberta College of Art + Design in 2013, and has since exhibited her work widely. Reid was the recipient of the 2015 Queen’s Golden Jubilee Scholarship, and has participated in residencies at the Archie Bray Foundation, The Banff Centre, and Guldagergaard, as well as at several other programs. Reid is the Ceramics Technician at AUArts, and currently lives and works in Calgary.

Zane Wilcox received an MFA from the University of Regina and a BMus from the University of British Columbia. He has received numerous awards including the Outstanding Student Achievement in Contemporary Sculpture Award from the International Sculpture Center. Zane’s work has been exhibited across Canada and in the United States and Australia, and is featured in public collections including the MacKenzie Art Gallery and Global Affairs Canada. Outside of the studio, he is active in roles such as juror, visiting artist, workshop presenter and teacher.

Stone Series, 2019. Stoneware. Grace Han.
You Will Do What You Say, 2018. Glazed ceramic, Gold Luster. Joon Hee Kim.
A place to rest (1), 2018. Cast porcelain, glaze, wood. Jocelyn Reid.

The Eye of the Beholder

June 1 to September 29, 2019

Image: In Your Hands, 2019, Glazed Ceramic, Gold Luster. Joon Hee Kim.

The Gallery is pleased to present an exhibition of the ceramic work of artist Joon Hee Kim in the John A. Pollock Family Courtyard.

It is said that the human body is a living vessel. Joon Hee Kim’s work consists of sculptural ceramics that reflect her interpretation of the human form as a vessel. Her work moves the ordinary into symbolic archetype, reconciling tradition from her culture to become a measure of human experience.  She tackles the idea of beauty and joy by juxtaposing classical art and historical heritage with contemporary concerns. She thus creates multiple viewpoints within a global context.

Joon Hee Kim is a Canadian artist originally from Seoul, Korea. She studied Design and Patisserie, then Ceramics at Sheridan College, continuing her practice at Chelsea College of Arts in London U.K., where she received the Cecil Lewis Sculpture Scholarship and an MA in Fine Arts.  Her work has been exhibited in Canada, U.S.A, and the U.K.. After receiving a Canada Council for the Arts grant, she was accepted to the Shigaraki Ceramic Residency in Japan. She had her first solo exhibition at the Art Gallery of Burlington in the summer of 2018. Joon Hee recently completed a residency at the Center for Ceramics, Zentrum für Keramik, in Berlin, Germany this year.

A catalogue accompanying this exhibition is available for purchase in the Gallery Shop or Online.

The artist acknowledges the support of the Canada Council for the Arts.

From the Collection: Celebrating National Indigenous Peoples Day

June 19 to September 8, 2019

Image: Turtle and Fish Motif (1986), Porcelain. Steve Smith.  Canadian Clay & Glass Gallery Collection. Gift of Neil and Doreen Forsyth. Photo: Eleanor Zhang.

Ann Beam, Anong Migwans Beam, Carl Beam, Michael Robinson, Nick Sikkuark, Darlene Smith, Leigh Smith, Steve Smith

The Gallery is pleased to present a selection of works by Indigenous artists from the collection. The exhibition opened on June 19 in time to celebrate National Indigenous Peoples Day on June 21.

Whale Fall

Nurielle Stern & Nicholas Crombach

July 2 to September 8, 2019

Image: When you can see right through me (Detail), 2019, Cyanotype prints on silk, x-ray illuminators, soft-paste porcelain, drafting table and found objects. Nurielle Stern & Nicholas Crombach.

In this collaborative exhibition, artists Nicholas Crombach and Nurielle Stern explore subject matter derived from the complex, problematic and often mythologized human relationship to the natural world. The centerpiece of their exhibition is Whale Fall, a large sculptural work consisting of an assemblage of furniture and added ceramic components. The work alludes to a decaying whale carcass, providing a visceral visual metaphor for accumulation, loss and the passage of time. 

The artists acknowledge the support of the Ontario Arts Council.

A catalogue accompanying this exhibition is available for purchase in the Gallery Shop or Online.

En Route

Sculptural Ceramics and Glass Emerging from Manitoba

July 6 to September 8, 2019

Image: Hawk Tower  (Detail), 2018, Stoneware, Mixed Media. Chris Pancoe.

Curated by Sheila McMath and Grace Nickel

PJ Anderson, Gayle Buzzi, Grace Han, Terry Hildebrand, Monica Mercedes Martinez, Alana MacDougall, Chris Pancoe, Mary Stankevicius, Peter Tittenberger

The works in En Route focus on contemporary sculpture, installation and performance in ceramics and glass by nine emerging artists with connections to the University of Manitoba. Curators Sheila McMath and Grace Nickel showcase the level of experimentation that is a vital part of contemporary ceramics and glass practice. Artists in this exhibition explore varied themes including identity, colonization, psychology and urbanization and how these themes are linked to ceramic and glass history.

This exhibition is in partnership with the School of Art, University of Manitoba.

University of Manitoba School of Art logo

 Evocative: The Art of Porcelain

March 30 to June 22, 2019

Images (Top to bottom): LANDSCAPE PLATE (1979), Harlan House, Private Collection; DRAGON TEAPOT (c. 1995), Diane Nasr O’Young, Private Collection; PLATE (1992), Kayo O’Young, Private Collection.

Guest Curated by Jonathan Smith

Harlan House, Diane Nasr O’Young, Kayo O’Young. An extension of the exhibition features the work of Magdolene Dykstra.

When we speak of porcelain, one of the last images to come to mind is that of landscape.  Especially after years of the hand crafted pot, reminiscent of Bernard Leach, one is more likely to think brown and round. But for centuries, the ceramic world was populated with objects bearing bright images of recognizable decoration that added beauty and meaning to what would otherwise be ordinary, everyday chattel.  From the time of the Group of Seven, who wished to instigate a truly Canadian art, it should come as no surprise that Canadian ceramic artists would incorporate the theme of landscape – from rolling geological features to patterns of water, from wind driven rain and waves – as an inspiration for their work. 

Harlan House, Diane Nasr O’Young, and Kayo O’Young each have a different take on their muse that incorporates where they live, but also personal autobiographical details that drive their visions.  Harlan House, born in Vancouver but raised in Calgary, lives in an 1840‘s old stage coach inn on hard rock farmland north of Picton, Ontario.  His garden and his world travels often meet in his sometimes gentle, sometimes politically pointed work.  Diane Nasr O’Young  and Kayo O’Young live on two acres of land snuggled up against the eastern branch of the Humber River, north of Kleinburg, Ontario.  Nasr, born and raised in Trinidad, creates work that is inspired by the lush and fantastical flora and fauna of her childhood.  O’Young carries with him memories of the classic sumi ink drawings of his native China with their veils of colour tinged with the dense woodlands that once surrounded his Ontario house and inspired the work of Tom Thomson. 

This exhibition brings together three different visions, each one personalized, but each rooted in the places, past and present, that inspire them.

Magdolene Dykstra’s Seated Figure (2015), at first suggests a day at the beach, one hundred years ago. This figure is clothed in what appears to be a bathing costume and cap, with only her feet, hands and face exposed. The suggestion of times past, a day at the seaside when life was simpler and time spent in innocent pastimes were the norm, is the first thought that comes to mind. However, the look on the sculpture’s face, the sidelong glance, is telling. One can have an opinion on the interpretation but while the image suggests several scenarios, there is no clear conclusion.

The first glance at the work evokes a nostalgic feeling and a warmth that is seductive – it feels comfortable. Perhaps that is all that is wanted and/or needed. But a longer look questions the element of nostalgia, for nostalgia is a longing for past time or condition that cannot be recovered or perhaps never existed. While evocation and nostalgia are similar, they both are a reminder of the past, and of the two, evocation is the more powerful, as it leads to a more potent understanding of the connection between things and ideas.

The Canadian Clay & Glass Gallery is pleased to partner with the Art Gallery of Burlington for this exhibition.

Image: Seated Figure (2015), Magdolene Dykstra. Photo courtesy the Art Gallery of Burlington.

Earthborn 2019

April 6 to June 23, 2019

Image: Passage (Detail), Indira Singh. Winner of the Craft Ontario Best in Show Award 2018. Photo: Nicole Waddick

Earthborn is an annual, juried exhibition of works by members of the Waterloo Potters’ Workshop. Established in 1968, WPW is located in Waterloo Park and occupies the historic Jacob Eby farmhouse, which functions as a work/learn space for members and a teaching facility for the public.

This year’s juror is Bruce Cochrane. He is an internationally acclaimed ceramic artist and recently retired Professor Emeritus of Ceramics at Sheridan College, where he worked for more than 30 years. During this time, he was instrumental in developing the Ceramic Program’s reputation as one of the best in Canada. Bruce’s studies began at the Nova Scotia College of Art and Design and continued in Alfred, New York at the New York State College of Ceramics where he received his Masters of Fine Art. Since his graduation in 1978 Bruce has participated in over 300 exhibitions, and shares his knowledge through lectures and workshops throughout North America. His work can be found in the permanent collections of the Royal Ontario Museum in Toronto, Gardiner Museum of Ceramic Art in Toronto, Victoria and Albert Museum in London, England and the Canadian Museum of Civilization in Ottawa to name a few. Bruce resides in Toronto and maintains his studio practice in Grey Highlands, Ontario.

Participating artists include: Rosemary Aicher, Anne Beyers, Janette Bogart, Laurie Cowell, Visnja Cuturic, Kelsey Dawson, Judy Donaldson, Stephen Hawes, Hette Hillsdon, Jason L’Abbe, June MacDonald, Angela McKay, Marlen Moggach, Barbara Murphy, Trudy Schulz, Indira Singh, Marty Slimming, Stewart Smith, Eekta Trienekens, Vlodek Tydor, Lynn Winter.

The work of Juror Bruce Cochrane is also on view alongside the juried finalists.

Material Syntax: 3D Printed Clay

April 28 to June 8, 2019

Image: Woven Brick (2019). Yesul Elly Cho, Meghan Taylor and Ji Shi.

Exhibition coordinated by David Correa and Yesul Elly Cho

Cutting edge 3D printing technology and ancient materials come together to create innovative architectural solutions. University of Waterloo graduate students from the School of Architecture were challenged to consider how clay, a material that has been used in building for thousands of years, can be used to make new and innovative building construction systems.

With both beauty and performance in mind, each group set up to explore how this highly used building material can be re-invented for the future. While employing their design skills, the students also had to learn about different types of clay, pottery, brick production and 3D printing techniques. Using a state-of-the-art large volume 3D printer and direction from Assistant Professor David Correa, the students worked in groups of three to develop their own vision of what 3DP clay can do as a building component.

The results are a series of 6 innovative wall or façade systems that explore the plasticity, elegance and architectural quality of clay.  The technology allows students to modify every brick individually and can allow for much more complex geometry than would be feasible with conventional brick-making methods. The result is a wide range of installations, including an archway that can act as a sundial, a wall that whistles with the wind and an ornamental screen wall.

Exhibition coordinated by David Correa and Yesul Elly Cho

This exhibition is in partnership with the School of Architecture, University of Waterloo.

Fireworks 2017

Organized by FUSION: The Ontario Clay and Glass Association

December 22, 2018 to March 17, 2019

Juried by Sandra Alfoldy & Ione Thorkelsson

Fireworks 2017 is a celebratory exhibition of hand-crafted works in clay and glass, organized by FUSION: The Ontario Clay and Glass Association. This exhibition stands as a testament to the vitality, originality and inventiveness of today’s practising crafts community – a tribute to those makers who have chosen clay and glass as their mode of self expression, and in some instances, their livelihood.

Participating artists: Rosemary Aicher, Ann Allen, Lindsay Anderson, Barbara Banfield, Eden Bender, Aurelia Bizouard, Alison Brannen, Keith Campbell, Erin Candela, Lisa Creskey, Christine de Takacsy, Courtney Downman, Mark Flink, Grace Han, Puck Janes, Jenny Judge, Jane Klarer-Lackey, Dianne Lee, Lauren Levine, Carol Lim, Hannun Lyn, Terrie MacDonald, Marney McDiarmid, Heidi McKenzie, Debbie McLeod, Paula Murray, Yael Novak, Cynthia O’Brien, Maja Padrov, Genevieve Patchell, Bernadette Pratt, Deanna Sakai, Debra Sloan, Bruce Taylor, Catherine Thomas, Rhonda Uppington, Layne Verbeek, Gabriela Wilson, Carol Wong, Heather Wood, Renee Woltz, Marlene Zagdanski.

FUSION thanks the following contributors and sponsors:

Gilda Goodman
Waterloo Potters’ Workshop
Derek Chung Communications


Pattie Chalmers, Julia Hepburn, Jennie Suddick

January 12 to March 17, 2019

Images (Top to Bottom): Every Day I Think of You, 2018, Pattie Chalmers; Mother’s Garden (Detail), 2018, Julia Hepburn; The Tree House Project, 2015, Jennie Suddick.

Curated by Sheila McMath

Our domestic experience is defined by the details – a carefully chosen wallpaper pattern, a table set for an evening meal, a small vegetable garden in the backyard, a balcony with an amazing view, a tree-fort that is perpetually ‘under-construction’. The artists in this exhibition explore where we live and how we define a home.

With a cautious nostalgia, artist Pattie Chalmers borrows imagery from the mid 20th century to create ceramic tableaus that are simultaneously familiar and unsettling. Julia Hepburn creates small dream-like dioramas made of polymer clay and mixed media. Her works are distinctive for their strong psychological quality and elusive narratives. Remembering and re-creating the ‘magical’ spaces of childhood, like blanket and tree forts, Jennie Suddick opens up the definition of home to include communal, ‘do-it-yourself’ spaces whose distinction and power is in their impermanence.

This exhibition has been made possible in part by a contribution from:


Kanika Gupta

January 12 to March 17, 2019

Tide (detail), 2015, Kanika Gupta.

In partnership with the Brain Injury Association of Waterloo-Wellington, the Canadian Clay & Glass Gallery is pleased to feature the ceramic works of Toronto artist Kanika Gupta. Gupta’s experience of working with clay has mirrored her personal journey of finding her way, following a brain injury that abruptly disrupted her life.

Surrender is a uniquely accessible exhibition that encourages visitor engagement through tactile works, didactic signage in large-print, accommodations to lower heights and the opportunity to respond and make a contribution to the exhibition itself. We request that you assist us in making this a scent-free space and refrain from wearing scented clothing or perfumes.

This exhibition has been made possible in part by a contribution from:

Embodiment: 30 Years of Sculpture by Susan Low-Beer

September 23 to December 31, 2018

Place of Becoming, Installation at the Art Gallery of Algoma, 2016, Susan Low-Beer.

Co-curated by Jasmina Jovanovic and Stuart Reid, Embodiment is a 30-year retrospective of ceramic sculpture by Governor General’s Award-winning artist Susan Low-Beer. The exhibition examines more than three decades of the artist’s practice. Recurring themes include identity and mortality as well as the simultaneous power and vulnerability of the body.

Also on view is an adjoining exhibition of new works from Low-Beer’s Specimen series, curated by Sheila McMath.

Susan Low-Beer received her Bachelor of Fine Arts Degree at Mount Allison University and her Masters of Fine Arts in the United States at the Cranbrook Academy of Art with a major in painting. She has exhibited internationally in Europe, United States, Japan and Korea, as well as nationally in both juried and invitational exhibitions and has been the recipient of numerous grants and awards. In 1999 she received the Saidye Bronfman Award for Excellence in the Crafts and in 2000 was inducted into the Royal Canadian Academy of Arts. She currently teaches and works in Toronto.

Susan Low-Beer presented an artist talk on Saturday, September 22 at 7pm.

The exhibition is organized and circulated by the Art Gallery of Algoma and generously funded through the Department of Canadian Heritage, Museums Assistance Program. Nous reconnaissons l’appui financier du gouvernement du Canada.

This exhibition has been made possible in part by a contribution from:

Earthborn 2018

September 23 to December 16, 2018

Teapot by Judy Donaldson. Winner of the Craft Ontario Best in Show Award 2016.

Earthborn is an annual, juried exhibition of works by members of the Waterloo Potters’ Workshop, a non-profit co-operative organization celebrating its 50th Anniversary this year. Established in 1968, WPW is located in Waterloo Park and occupies the historic Jacob Eby farmhouse, which functions as a work/learn space for members and a teaching facility for the public. This year’s juror is Scott Barnim, a Dundas-based potter. Barnim obtained his MFA in Ceramics from the Cardiff Metropolitan University, School of Art and Design, Wales, and in 2016 received the lifetime achievement award from the City of Hamilton Arts Awards.

Participating artists’ artwork is accompanied by the work of past Juror’s, including 2018 Juror Scott Barnim. Juried artists: Rosemary Aicher, Anne Beyers, Carol Blake, Laurie Cowell, Judy Donaldson, Harriet Falk, Stephen Hawes, Hette Hilsdon, Jason L’Abbe, Claudia Lambert, June Macdonald, Joanne Makulski, Marlen Moggach, Trudy Schulz, Indira Singh, Stewart Smith, Connie Straicher, Jacqueline Tate, Eekta Trienekens, Cynthia Trombley, Dorothea Tutte, Nicole Waddick and Daphne Wang.

Earthborn reception and awards ceremony was held on Sunday, September 23 at 1:30pm.

Then, Now, and Next

April 8 to September 2, 2018

Curated by Sheila McMath

The Gallery’s 25th Anniversary exhibition, Then, Now and Next is an invitational show featuring six acclaimed Canadian artists, Samantha Dickie, Susan Edgerley, Irene Frolic, Zachari Logan, Audie Murray and Peter Powning. The exhibition celebrates artists at various stages of their careers. Some have a long history with the Gallery; all are making their mark in contemporary ceramics and glass.

Established artists Susan Edgerley and Irene Frolic, both members of the Royal Canadian Academy of Arts, use glass for its inherent metaphorical references to the ethereal qualities of life and its fragility. Their work also utilizes the poetic potential of glass to speak about the human condition and the ephemeral beauty of the natural world. Edgerley and Frolic were both participants in the Gallery’s inaugural exhibition and we are pleased to invite them back to celebrate their accomplished careers.

Ruby (detail), 2016, Irene Frolic. Photo: Rebekah D’Amboise Tremblay
Breath (detail), 2018, Susan Edgerley

Artist Peter Powning, recipient of the Saidye Bronfman Award in 2006, is engaged in experimentation with many different materials including ceramic, glass, stone and bronze. Powning’s practice encompasses work at various scales from small vessels to large sculptural objects to a public installation. Powning is viewed as an inspirational leader for his study of the ‘elemental’ aspects of materials, his technical proficiency and the way that his practice appears to move fluidly and seamlessly among various media.Contemporary ceramic artist Samantha Dickie has received attention and acclaim for the quiet power of her installations. For this exhibition, Dickie will debut a new work made of over 1,000 porcelain components. Her work encourages viewers to carefully observe subtle variations of handmade objects and to pause in her immersive environments.

Zachari Logan and Audie Murray have been invited to participate in this exhibition to represent the expansive, interdisciplinary approach embodied by many ‘next‘ generation artists. Logan’s work, Fountain, ismade of multiple, intricately sculpted ceramic flowers, accumulated and assembled into a monumental column. The artist adds new ceramic flowers each time he exhibits the work, continuing his meditations on mortality, memory and loss.

Audie Murray is a multi-disciplinary Métis artist who has received attention for her integration of floral bead work on common, everyday objects. In Murray’s work, Fragments of Language, viewers will be greeted in three languages – French, Cree and Michif. Murray’s work will encourage viewers to consider the simultaneous fragility and resilience of culture, language and nature.

An integral part of this exhibition is also the In Memoriam section, which features work from the Gallery’s collection, and pays tribute to the makers of ceramic, glass and enamel art who we have lost over the last 25 years.

The Opening Reception was held on April 8 at 2:00pm. Irene Frolic presented an artist talk during the official preview of the exhibition on April 7 at 7:30pm. Zachari Logan presented an artist talk on July 4 at 7:00pm.

Fragmented Plate Pair – Bold, 2017, Peter Powning
All We Can Do Is Keep Breathing (detail), 2018. Samantha Dickie. Photo: Cathie Ferguson
Fountain (detail), 2013 (ongoing). Zachari Logan
Fragments of Language: Birch&Beads, 2016, Audie Murray

Thank you to our funders and supporters:

The Estate of J. Douglas McCullough

Bill Poole & Louise Dzuryk

Randall Howard & Judy McMullan

Chronicle: 25 Years at the Canadian Clay and Glass Gallery

May 5 to September 2, 2018

Opening Reception for The Glass Canvas, April 17, 1994. Visitors contemplating stained glass work by Stuart Reid.

A Preview of the exhibition was held on Sunday, April 8 at 2:00 pm. The show runs until September 2, 2018.

Explore the archives of The Clay & Glass as it celebrate a quarter century of silica arts. Unearthed from the vaults, this exhibit reflects on 25 years of the people and events that have shaped the Gallery’s history. The exhibition is held at the City of Waterloo Visitor and Heritage Information Centre, located at 10 Father David Bauer Drive, Waterloo, ON.

This exhibition is made possible in part by contributions from: 


January 14 to March 18, 2018

Steel Blue Gossamer Vases, 2017. Julia Reimer. Photo: John Dean

For the winter 2018 season, the Gallery presented an exhibition of the curated works of seven artists who won the RBC Award for Glass between 2008 and 2016. They are Benjamin Kikkert, Ito Laïla Le François, Aaron Oussoren, Julia Reimer, Brad Turner, Cheryl Wilson Smith, and Rachael Wong. The exhibition featured new work by these artists, illustrating the growth in their artistic practice and output stimulated by winning the prestigious award.

These artists, in addition to sharing the distinction of winning the RBC Award for Glass, also share a commitment to the exploration of glass as an experimental and seductive medium. While some of the artists in this exhibition made use of traditional glass manipulation techniques including casting, blowing, sandblasting and pâte de verre, others incorporated the investigation of 3D printing and digital manufacturing methods into their practice.

This exhibition has been made possible in part by a contribution from: 

Cultural Topographies: The Complexities of History and Identity in Canada

April 9 to August 24, 2017

Curated by Julie René de Cotret

This exhibition featured concept-driven artworks in ceramic and glass that explore identity, culture and history in Canada. Exhibiting artists included: Ann Beam, Adrian Blackwell, Laurent Craste, Chris Curreri, Léopold L. Foulem, Mathieu Grodet, David R. Harper, Sarah Maloney, Kelly Mark, Nadia Myre, Tasman Richardson and Tim Whiten.

The hierarchical categorizations and divisions imposed between art and craft are re-examined in this exhibition. Léopold L. Foulem, whose conceptual ceramic practice is principal to the development of this exhibition, once said, “matter doesn’t matter”,  addressing the tendency of the art world, for example, to assign greater value to works made of bronze than to those in ceramic. The conceptual contributions of crafts to the arts are seldom recognized.

These artworks were selected for their aesthetic and conceptual value. In the context of this exhibition, the works embody the important contributions of craft concept to art, specifically in the fields of sculpture and installation. The craft concepts explored by these works are those of containment, and of the object as frame.

Christopher Reid Flock: Integration/Disintegration

January 15 to March 19 2017

Integration/Disintegration Cup Saucy #4, 2016. Christopher Reid Flock.

As an experimental ceramic artist, Christopher Reid Flock’s work is profoundly influenced by the significant time that he spent in Japan and the mentorship that he received from some of Canada’s most respected potters. Among other accolades, Flock was the recipient of the Winifred Shantz Award for Ceramics in 2014 and was shortlisted for the Gardiner Museum Permanent Sculpture Competition in 2016. Flock lives and has a studio in Hamilton, Ontario.

Although this ambitious exhibition included some works from Flock’s earlier career, it featured more prominently his large-scale, installation-based works that whimsically play with notions of function while merging rapid prototyping with classical clay process. Integration/Disintegration included six main bodies of Flock’s work.

A companion exhibition called Mentorship: Harvest, Flow, Ferment featured selected works by Flock’s most influential mentors, Bruce Cochrane, Diane Nasr O’Young and Kayo O’Young. Works for this exhibition have been borrowed from private collections across Canada as well as through a significant loan from the Art Gallery of Burlington.