Artists without web links may be contacted via 260 fingers
Embracing imperfection when working with clay has allowed me the freedom to stay open to limitless possibilities.
Using soft liquid clay to decorate in my work that becomes hard when dry. My goal is to create the soft and luscious look once again. The gas firing process enhance the surface qualities of the glazes creating work which has a sense of vitality and elegance.
Marianne Chenard is a ceramist and visual artist. Her artistic approach testifies her interest in Canadian history, its landscapes, its status as a northern country and clichés associated with it, issues that materialize as much in the forms reinterpreted as in the personal imagery developed.
Leta and Don Cormier
North Gower, Ontario
We endeavor to make pottery vessels that embody a natural quality of beauty & life that people can use and enjoy in their everyday lives.
Lisa hand-builds and sculpts with porcelain and earthenware, and hand paints with underglaze to explore the fullest expressive potential of the clay as a sculptural and painting medium.
Twitter / Hashtag(s): @LCreskey
My current work concentrates on the exploration of wood firing. While making each piece, I try to imagine how a passing flame or melting ash might trace itself on the form. Firing a wood kiln requires hours of labour and I delight in the camaraderie of the team as we prepare and stoke the fire.
Home phone: 613 839 1646
Cell phone: 613 301 5057
Facebook: Stoneware Pottery by Jen Drysdale
Process and material inspire and inform me. I hope that my work speaks of vitality through surface, strength, through form, and purpose, through function.
St. Bernadin, Ontario
The process of addition and removal of subtle and complex layers of color is a technique I use to achieve an imagery of figure on ground; a conceptually similar technique within landscape painting. The essential difference is my aesthetic preference for abstraction.
Val David, Quebec
I hope one day my work will be discovered in a flea market. It is important to me that my work is used in everyday life.
There are many diversities and extremes that I try and hold and balance within my life and work- the white porcelain and black basalt clay; the closed, lidded and the open form; the tiny and the large. Within them all, they hold the meditation of making, the time, the process and the silence.
My porcelain pottery is characterized by intensely decorated surfaces using a rich palette of glaze colours and textures. I use wax resist and underglaze colours to create intricate and complex patterns. I decorate the entire surface of my thrown or handbuilt vessels, often drawing upon the natural world and textiles for my inspiration.
Facebook: Maureen Marcotte
Twitter / Hashtag(s): @MaureenMarcott2 Instagram: maureen_marcotte
Meech Lake, Quebec
My practice is rooted in the relationship between process, material and meaning. Using porcelain slip, I have developed a process in which the juxtaposition of clay and glass creates an added layer of tension. My vessels have been taken to the brink of existence.
I am drawn to how these ceramic materials and processes have affinities with the human condition; how we respond and engage with the injury of experience - within, with each other, with the other.
Facebook:Paula Murray Ceramic Artist
YouTube/Vimeo: Paula Murray
Memory is fleeting. The more I work in clay with the intension to discuss ideas through the versatility of the medium, the more I understand that I am creating touch memories between my body and that of the clay. The more I work with people who suffer from Alzheimer's and Dementia, the more I appreciate how gratifying ephemeral memory is. What if I create objects that hold these memories, waiting to be released through touch?
Facebook: Cynthia O'Brien
Twitter: Cynthia O’Brien
#cynthiaobrien #clay #clayart #ceramicart #canadianceramics #canadianart #sculpture
This year features my very new work. Objects for the Hands and Heart - a collection of quietly potent, intimate objects to handle and reflect upon.
I work in porcelain clay using light washes of underglaze. While my material and technique shape my work, my focus is on telling stories and exploring ideas, most recently about home, marginality, and identity. The figures that emerge represent moments within larger narratives of struggle for place, for belonging, and for self.
In my work I am influenced by other cultures. At this time I am especially inspired by architecture from the Far East to Middle and South America and Lanark county where I live. The end-products are textured hand-built vessels.
Functional pottery in stoneware/porcelain and porcelain. Simple forms act as a canvas for glazework, narrative decoration, or cutwork.
My work is concerned primarily with expressing beauty. My contemporary designs in porcelain reflect both Chinese ceramic traditions and my roots as a functional potter.
Form, colour and texture are the defining features of my work. Most of her pottery is wheel-thrown and sometimes altered re-assembled and carved or fluted.
I have been firing a salt kiln for almost 30 years and now expects a range of results from any given kiln load of work. I work mostly in stoneware, firing to cone 6 in a 40cu ft sprung arch kiln.
Christopher Reid Flock
Described as Neo-Baroque, my work is a combination of experiences from Japan with recognizable western production forms. Primarily with porcelain, I throw and manipulate forms; slapping, tickling, gently coercing forms beyond their static states. I enjoy unearthing pieces from deep within, often remnants of memories and objects past; a celebration for things forgotten and those yet to be.
I began my study of clay as a metal student at Kootenay School of the Arts in Nelson, BC. This study and constant reference to metal continues in my soft slab porcelain and wood fired ceramics. I am interested in the development of relationship created by placement and repetition, and the use of functional ceramics to create sculptural works.
I am continuing to muddle along , enjoying how family, friends, work, gardening & travel all are melded within the circle of my creative endeavors. Then the art gets made.
My work explores the space between functional ceramics and sculpture, using the vocabulary from one to speak the language of the other. I am interested in playing with the sculptural possibilities of functional objects, as forms unmoored from function but reminiscent of use.
(416) 462-1717; (416) 420-7108 cell
facebook: chiho tokita
Using a high temperature firing clay called stoneware, I create hand-made, one-of-a-kind sculptures.
I have always been fascinated by the depth and variability of glazes that have been touched by fire. Exploring forms that enhance those qualities has been my guiding inspiration.
613 232 9367
Although influenced by 18th century English Slipware, I embrace the possibilities of modern design, materials & colorants. Adapting the age-old technique of slip trailing to stoneware clay & with a steady hand, I bring dimensionality to the surface of my work. The result is highly decorative yet functional pottery, which is a pleasure to use or display.