Clay and Material samples, Heather Lippold

The North West Ceramics Foundation recently received a detailed report from Heather Lippold, a recipient of a Maureen Wright Bursary to attend a six-week residency in 2024 at the Medalta International Artist in Residence Program (MIAR) in Medicine Hat, Alberta. She was joined in the residency with members of the Dusty Babes Collective, who cycled in and out during the time. Heather was able to attend for the full six weeks, which gave her an excellent opportunity to develop her work. What follows is an edited version of her report, illustrated with tests produced by members of the Collective during the residency.

Heather wrote:

Group calcining tests

While at this residency I was able to take part in four soda firings and six gas kiln firings with folks in our collective. Throughout the six weeks , seven of us cycled in and out of Medalta. The advantage of having a group of us working on different material exploration was our ability to learn not only from our own results but also from each other. It also allowed us to commit to so many firings.

The first few weeks started with initial testing. I had brought with me a variety of wood ashes from the community, expired iron pills, laptop wiring, scrap metal shavings, copper carb (made from recycled laptop copper), oyster shells, eggshells, clays, silica gel packs. This time was exploratory and allowed us all to get a bit weird while researching what was happening with the different materials. The materials we had as a group for this “scavengers encyclopedia” would have been too much for one person to test.

The remaining weeks were focused on producing work for the soda and gas kilns to test surfaces and glazes and applying initial tests. My primary focus shifted to testing ash glazes with the ingredients I had scavenged from wood stoves and pits. I produced my own copper carb by oxidizing the copper wire I salvaged from my home and the recycling depot. I was able to produce a decent amount of work to showcase mine and others test results.

Cone Ten tests

My time at Medalta really let me dive into testing. Not having the resources to do that frequently in my current living situation was invaluable. Exploring the idea of the “scavenged” material really gave me more control over where the materials in my work come from. Learning to work with what you have in abundance rather than a scarcity mindset was one of my biggest takeaways.

It is one of the biggest pleasures of our Board that we are able to assist BC ceramicists in following their dreams and investing in their careers. Seeing the advances made by Heather Lippold and other members of the Dusty Babes Collective encourages us in our work all the more. We look forward to seeing how this experience contributes to their new work.

For more on the Maureen Wright Bursary, please see here.

Robin DuPont, winner of the 2021 NWCF Mayer Wosk Award of Excellence, has just received the BC Achievement Award for Applied Art and Design. The NWCF would like to take this opportunity to congratulate Robin on this prestigious award.

Robin DuPont is a frontrunner in contemporary ceramics in North America, recognized for his innovative atmospherically fired ceramics that push the boundaries of form and surface. With over 20 years of experience, Robin’s pursuit of creative and technical development has earned him a reputation for excellence in the field. His extensive research into new ceramic surfaces, clay bodies, and kiln design sets him apart in Canadian studio ceramics.

As an educator and mentor, Robin has taught at numerous institutions across Canada and the United States, and currently leads the ceramics program at Kootenay Studio Arts at Selkirk College. His teaching has reinvigorated the program, inspiring the next generation of potters to produce work of exceptional quality. Robin also conducts workshops from his property in the Slocan Valley, sharing his expertise in atmospheric firing.

Congratulations Robin DuPont!

Wei Cheng and John Neely at Peters Valley Craft School

In June, the North-West Ceramics Foundation was pleased to support Vancouver potter Wei Cheng through the Maureen Wright Bursary to attend the workshop Teapots and More: Vessels that Pour.  The workshop was held at the Peters Valley School of Craft in Layton, New Jersey, from June 7 to June 11, 2024. It was led by John Neely, Professor of Ceramics at Utah State University in Logan, Utah, where he has taught since 1984.

We congratulate Wei on her exciting work and thank her for her fascinating report. We wish her all the best on her next adventure. What follows is an edited version of Wei’s account, in which she discusses not only her experiences at the workshop, but, also, what initiated her interest in tea and tea pots to begin with.

.   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

In 2014, shortly after graduating from Emily Carr, I pursued a residency in Jingdezhen, the ceramic capital of China, to further my practice. During a craft market visit with a tea master, I helped him find a suitable teapot for an upcoming tea ceremony. I suggested a teapot I thought was perfect, but he replied, “The person who made this teapot probably does not drink tea.” His comment puzzled me, so I asked for an explanation. He said, “You have to drink tea to understand what a teapot is.” Little did I know, this marked the beginning of my journey to merge my ceramic practice with tea culture.

John Neely discussing kilns and firing

Four years later, in 2018, I started my apprenticeship in Yixing, famous for its Zisha teapot. In Yixing, drinking tea is not just a cultural practice but an everyday routine. We drank tea while waiting for the clay to dry, during with visits and friends, and even while receiving critiques on our teapot homework. During this time, I slowly began to understand what my tea master friend had meant. There is a ratio of loose tea leaves to water that a maker must consider for the teapot’s volume. Different forms of tea leaves—some rolled small, some tiny, and long—dictate the size of the rim. For Chinese Kungfu tea, which uses boiling water, the placement of the hole on the lid and the thickness of the wall must ensure safe and comfortable use. The length and curve of the spouts influence the flow rate and volume of the pour. These thoughtful design considerations are hidden behind a teapot, a philosophy that guides me even before the creation process begins.

Upon returning to Vancouver, I noticed that this philosophy had deeply influenced my practice. Whether making tea wares or anything else, I now consider the end-use and user experience. For example, when making vases, I think about the style of flower arrangements, how to ensure stability, and how to treat the bottom to prevent table scratches. These seemingly small but significant details have become integral to my creative process.

John Neely demonstrating on the wheel

In recent years, I have developed a keen interest in atmospheric firing, especially wood firing. Beyond functionality, I started to focus on the natural characteristics of different clay bodies and the firing process itself. The unpredictable results create unique aesthetic qualities and highlight the subtle elements around us daily. Such as the type of wood in different firing stage, air pressure and different weather, and the arrangement of pots in the kiln. I’m fascinated by those factors that shape both the outcome of the work and the artists’ creativity process.

I recently discovered the opportunity to attend a teapot workshop with John Neely at Peters Valley School of Craft. I have admired his work since my art school days. Specializing in tableware, particularly drinking and pouring vessels, and known for his development of the wood-firing train kiln, John’s expertise aligns perfectly with my interests.

[The workshop] was an incredible experience that significantly expanded my skills and knowledge. John’s detailed and hands-on demonstrations provided firsthand insight into his innovative techniques. The skills and philosophy I gained regarding functional wares and wood firing will undoubtedly enhance my practice and help me grow as a ceramic artist. I am excited to apply the new skills and insights I gained to my work. Beyond the workshop, the dedication and passion of fellow artists were truly inspiring. The environment fostered collaboration and creativity, allowing me to exchange ideas and techniques with other participants. Engaging with like-minded individuals who share the same passion for ceramics was a highlight of the experience. I made several new friends, each bringing unique perspectives and skills, which enriched my own understanding and approach to ceramics. These connections are invaluable, providing a network of support and inspiration that I will carry forward in my artistic journey.

Richard and Helmy Louwe Younker

It was with great sadness that we learned of the death of Richard Younker, a long-time supporter of ceramics and the North-West Ceramics Foundation. Richard was an enthusiastic participant in our various fundraising auctions and at local studio sales, where he would scour the pieces on view and inevitably select a beauty. In December, 2022, he made a major donation of securities to the NWCF in honour of his wife to establish the Helmy Louwe Younker Memorial Endowment, with an additional donation  the following year. Funds from this endowment support student scholarships and other important initiatives that allow us to go forward with our work. We are intensely grateful for this donation and for the support he lent to our endeavours over the years. We mourn his passing and extend our greatest condolences to his family and friends.

His daughter, Marika Younker, provided us with the following biography of her father:

Richard Younker was born in Toronto but moved to Vancouver in 1969 to complete an MBA at the University of British Columbia. He worked as a chartered accountant and certified management consultant in the private sector before starting his own independent financial consulting practice in 1985. He met his wife Helmy in 1975, and the couple lived initially in South Granville near Granville Island, where they developed a love of fine art. Over the years, the couple became increasingly passionate about ceramics, and, during their 43 years together, they travelled throughout BC’s interior, the southern Gulf Islands, Vancouver Island, and Hornby and Denman islands, collecting ceramics. Richard particularly enjoyed larger, more sculptural/decorative ceramic works, and, amongst the many works he collected he particularly appreciated those of Tam Irving and Vincent Massey. After the death of his wife, Richard continued to collect ceramics and to support the NWCF and was a constant presence at the foundation’s fund-raising activities. Unfortunately he was diagnosed with terminal cancer in 2024 and passed away in April, 2024.

Installation of John Reeve pots, Thrown, Belkin Art Gallery, UBC, 2004. Photo Owen Sopotiuk.

We are pleased to inform our community about an important upcoming sale organized by two of our Board members, Ron Vallis and Martin Peters, who operate Dunbar Pottery, of the last pots made by the important BC potter John Reeve (1929 – 2012). The sale will take place at:

VisualSpace Gallery
3352 Dunbar Street
May 3-4, 2024
10am until 4pm.

Ron and Martin have kindly provided the following additional information:

From 2006 to 2010, John Reeve worked intermittently at Dunbar Pottery.  After a health scare in 2010, John returned to New Mexico where he passed in 2012.  John is survived by his children Solly and Hannah and his widow Phylis Blair.  After a recent trip to New Mexico, Chris Brayshaw reported that Phylis is in poor health both physically and economically.  When John left the Dunbar Pottery, he left behind a studio filled with pots.  These were stored away awaiting instructions from Phylis, which were never forthcoming.  She was and remains devastated by John’s death.  In order to raise funds to assist Phylis, we have glazed and fired the bisque pots John left behind.  Chris Brayshaw, who is researching a book on John, reports that these pots were no doubt the last ones he made.  We aim to sell John’s last work and to send all of the proceeds to Phylis.  In that regard Yukiko Onley has very generously offered her VisionSpace gallery at 3352 Dunbar Street for the sale.  Ron and I will also have some pots for sale, the proceeds of which will go to assist Yukiko with expenses.

Bryan Cera (left), Tom Lauerman (right)

On January 28, 2024, Bryan Cera and Tom Lauerman in conversation with Board member and moderator Jennifer Woodin presented their work in a panel discussion Robots and the Human Hand: from Automation to Improvisation in Digital Fabrication. The panel discussed work, research explorations, and experiences utilizing ever-evolving emerging technologies as a methodology in the practice of working with clay. The artists explored a range of topics including 3D printing, animation, hand-building with robots, DIY culture, and emerging communities of social exchange. Presented over Zoom, the panel had over 50 people in attendance, and the formal presentation was followed by a lively discussion. To see the recording of the presentation, please see here.