The UBC Museum of Anthropology and the North West Ceramics Foundation are pleased to announce the selection of Vancouver ceramic artist Jai Sallay-Carrington as their 2026 Artist-in-Residence. The residency, which is supported by the NWCF and board member Dr. Carol E. Mayer, provides the opportunity for practicing ceramicists to access the collections of the MOA as a way to inform and inspire their practice. Selected artists have access to the Judy Cranmer Ceramics Research Laboratory. They receive an honorarium and the opportunity to make work for sale in the MOA Shop. For more information see our earlier blog entry here. 

Jai Sallay-Carrington (they/them) is a figurative ceramic sculptor whose practice examines human identities, behaviours, and emotions through anthropomorphic forms. Drawing from their queer and transgender identity, their work uplifts queer and trans communities while interrogating dominant heteronormative and cis-normative structures. Their sculptures explore hidden aspects of selfhood through zoomorphic symbolism — each creature enriching the narrative of the human form it merges with, and deepening our understanding of internal, often unseen identities.

Attending artist residencies, installing exhibitions and teaching workshops has brought them and their artwork throughout Canada, USA, several European countries and to China. They earned their MFA at the University of Washington in 2023, receiving the De Cillia Graduating with Excellence award and the HUB Purchase award. Following their graduation, they received a grant from Canada Council for the Arts and attended a year-long residency at Baltimore Clayworks as the Lormina Salter Fellow. Congratulations Jai!

For more information, see Jai’s website here  and/or follow them on Instagram.

The North West Ceramics Foundation is pleased to announce that three of their board members have been included in the online 2026 Korea-Canada Invitational Ceramics Exhibition. Board members include President Debra Sloan and members-at-large Amy Gogarty and Martin Peters. The exhibition results from a call jointly issued by curators Dr. Jennifer Wicks, Executive Director of the Canadian Crafts Federation, and Chang-Sik Shin,  Design Center, Seoul Cyber University. As Dr. Wicks has written in her greetings, “This event offers a valuable chance for Korean and Canadian ceramic artists to connect and share their unique approaches, shaped by their surroundings, skills, traditions, and modern design.” The exhibition includes 35 Canadians from across the country, and 98 Koreans. The catalogue is available to all online here.

In addition to the three Board members, a number of other artists in the Vancouver region, several of whom have connections with the NWCF also have work in the exhibition. These include Amy Duval (2017 Maureen Wright Bursary); Claudia Zilin Shen (2023 Medalta and Shadbolt Scholarship); Jai Sallay-Carrington, Jean Paull, Silvia Tagusagawa, and Wei Cheng (2025 NWCF Meyer Wosk Award of Excellence). Congratulations to everyone!

Linda Doherty (left) and Sharon Reay (right) both honoured for their contributions to ceramics and the Shadbolt Centre.

On Friday, March 20, the NWCF hosted the keynote speaker for the Canadian Clay Symposium, which was held the following day at the Shadbolt Centre in Burnaby. Friday’s event took place before a large crowd at the Reliance Theatre at Emily Carr University and featured Jesse Birch, curator of the Nanaimo Art Gallery on Vancouver Island. The evening was hosted by Brendan Tang and included a packed agenda. It was opened by an Indigenous singer, who performed and explained three beautiful songs. This was followed by a memorial tribute to the many important potters we have lost over the preceding three years since the previous symposium. Linda Doherty and Sharon Reay, two artists who have contributed immeasurably to our ceramics community and the Shadbolt were recognized with a special award.

Debra Sloan discusses the important work done by the NWCF and our latest award.

Robin and Eden DuPont, who have worked very hard to keep open the important craft institution of the Kootenay School of the Arts at Selkirk College in Nelson presented a short and hopeful talk about the state of negotiations with the city. Numerous letters of support and donations from individuals and the town have contributed to the optimism that they will be successful.

Julie York, first recipient of the Sally Michener Award for excellent work in sculptural ceramics.

Our president, Debra Sloan, discussed the donors who have helped the NWCF, our work, and our awards. Our latest award honouring Sally Michener recognizes a ceramic artist whose primary practice engages with sculpture. Former board member and instructor at ECUAD, Julie York, has been awarded the first of these awards, which is fitting, as Sally had been a mentor and supporter of Julie’s extraordinary work.

Jesse Birch presents the keynote address, “Where to Pots Belong?” On screen–Wayne Ngan.

The keynote address Where do Pots Belong: on Exhibiting Useful Ceramics by Jesse Birch was, in the opinion of Debra, one of the best ever delivered at the symposium. He has researched the history of BC ceramics intensively, especially that relating to the Leach tradition. His talk covered the importance of Doris Shadbolt, curator at the VAG, and the support she gave to BC ceramics. For nearly an hour, he traced the importance of artists like Wayne Ngan, the rise and slow falling away of interest in ceramics in BC through trends towards conceptual and dematerialized practices, as well as the more recent positive re-evaluation of craft and ceramics that is taking place now.

The symposium the next day was sold-out, with attendees coming from as far away as the prairies and Haida Gwaii. The presentations were enjoyed by all, and the event was followed by a dinner catered by Nobel Egg Catering run by fellow ceramicist Nicole Guillemin. The dinner gave the presenters and board members of the various groups that had sponsored the symposium a chance to relax, talk over the event, and enjoy the lovely evening. As Debra Sloan commented, “ It was a classic and community-building clay social.”

*The details of this report are courtesy of Debra Sloan.

TPT 2025 attendees. At front, left to right, Dave Carlin, John David Lawrence, and Frank Turco

The North West Ceramics Foundation held their award ceremony, . . . That Pottery Thing. . . 2025, on December 4, at the Mayer Studio, 1000 Parker St, in Vancouver. Refreshments were provided by Noble Egg Catering run by fellow ceramicist Nicole Guillemin and featured a wide range of tasty finger food. Prosecco, wine, and beer were also available. Attendees included previous award-winners, donors, curators, and supporters. All were present to celebrate recipients of the NWCF Mayer Wosk Award of Excellence and two new awards, the Tam Irving Honorary Award of Recognition (“The Tam”) and the Celia Rice-Jones Legacy Award  (“The Celia”). In addition to snacks and awards, attendees were privy to a silent auction of beautiful works by some of BC’s best ceramic artists, including works by the award recipients. A small table of mugs, plates, and decorative items from the collection of Sally Michener offered visitors inexpensive souvenirs of this beloved former teacher and artist.

NWCF president Debra Sloan introduces the evening

NWCF president Debra Sloan started off the evening greeting visitors and outlining activities undertaken by the Foundation over the past several years, including support for the newly funded ceramic residency at the UBC Museum of Anthropology, the Speakers Series, bursaries, and scholarships awarded to post-secondary students. Board member Martin Peters introduced two new awards and asked Keith Rice-Jones, the initiator of the Celia award, to speak a little about his wife for whom the award is named. Martin then introduced the awardee, Alan Burgess, who presented a well-illustrated talk detailing his life and work in clay. His career began in Britain, surprisingly, as a student of Celia among others at the Camberwell School of Art in London, and continued half a world away on the coast of British Columbia. Martin then asked Tam Irving, for whom the Tam is named, to introduce the awardee D’Arcy Margesson, whose long career in ceramics includes developing a popular  earthenware clay body and teaching the complications of glaze chemistry to generations of students. D’Arcy also made a short presentation that featured beautiful flowers he grows in combination with his lovely pots.

Board member Ying-Yueh Chuang introduced the NWCF Mayer Wosk Award, which this year was presented to two outstanding artists, Amelia Butcher and Wei Cheng. Both Amelia and Wei presented short talks about their practices, which emphasized their engagement with the material in poetic and highly personal ways. The evening concluded with the closing of the silent auction and conversation among the happy and satisfied guests.

Award winners left to right: Alan Burgess, Wei Cheng, Amelia Butcher, Debra Sloan (NWCF), Ying-Yueh Chuang (NWCF), and D’Arcy Margesson

It is a great privilege to recognize and celebrate the wonderful artists whose extensive and diverse practices contribute so fruitfully to the excellence of ceramics in our province. We are forever grateful to our donors and supporters who make this important work possible.

The North West Ceramics Foundation is very pleased to have supported the publishing of a new monograph written by Debra Evelyn Sloan, Bill Rennie: His Realms and Havens: Architectural Marvels Realized in Clay. Bill Rennie (1953 – 2015) was one of Vancouver’s most charismatic ceramic artists, and it is an important part of the NWCF mandate to support publications addressing the history and culture of BC Ceramics.

Sloan addresses a number of aspects of Rennie’s life and practice including his growing up in Surrey, his activism, drawings, and unique architectural fantasies. Her work draws on personal memories—she first met the artist when both were students at the Vancouver School of Art in 1979. Bill was, if anything, unconventional in his practice, and much of his treasured legacy was scattered and poorly recorded. Along with friends and supporters including Donna Hagerman, his sister Marigrace Rennie, Jeannie Mah, Sally Michener, John David Lawrence, and others, Sloan collected, organized, and documented his amazing archive of letters, drawings, proposals, reminisces, diary entries—all written in his distinctive, block-letter style–and surviving works.

What emerges with this book is a compelling story of a gifted if often contrarian artist who was deeply engaged with the artistic and social issues of his day. His work was influenced by popular art movements including Funk and Dada, and by social issues such as AIDS/gay rights, the live/work studio and housing movement, gentrification, and funding for the arts in Canada.

His intricate architectural works were often accompanied by elaborate, narrated drawings, which give insight into his process. He built his structures using combinations of press-moulding, sprigs, hand-forming, carving, and assembling. He often accepted, even welcomed, collapse and distortion from the action of the kiln through multiple firings. Although many of his early works paid close attention to actual historical structures, his mature work blossomed with fantasy and his remarkable imagination. Numerous images provide examples of his work, with many works newly photographed by his long-time friend Donna Hagerman.

Drawing on archives, personal memories, historical and contemporary photographs, and the artist’s writings, Bill Rennie: His Realms and Havens: Architectural Marvels Realized in Clay provides an essential guide to a unique, unconventional, and deeply creative maker of masterful ceramic sculpture. Debra Sloan’s long experience as a recorder of BC ceramics history, her personal knowledge of the artist, and her clear passion for her subject make this a book that will carry far into the future.

Bill Rennie: His Realms and Havens: Architectural Marvels Realized in Clay, by Debra Evelyn Sloan, is published by Sassamatt Publications, and available through Amazon.

It was with great sadness that we learned of the passing of Jinny Whitehead on September 25, 2025. Jinny was a tremendous catalyst and friend of our community in Vancouver. From 2003 – 2004, she served as the vice president of the Potters Guild of BC, and, from 2005 – 2012, the president. She served on the Board of the North West Ceramics Foundation from 2004 to 2012. In 2021, The NWCF hosted an event, That Pottery Thing …, with a room dedicated to Jinny in recognition of her many contributions and ceramic practice.

Jinny was born in Calcutta, India, to a family that had lived there for 3 generations. She was raised in the UK, immigrated in 1985 to Ontario, where she served as the Executive Assistant to the first head of Canada’s new security and intelligence agency (CSIS). She and her husband Gordon moved to Vancouver in 1995. She became involved with local potters, and, together with Pia Sillem and Joan Barnet, formed Studio 3, which worked out of the Mergatroid Building in Vancouver’s east side. A self-taught potter, she attended workshops and wood-fire conferences for many years, eventually building a wood-fire kiln with her friends in Lund, on the Sunshine Coast. Her handsome, hand-built vessels were created slowly and mindfully and often included found pieces of driftwood. Her work was exhibited in numerous exhibitions including In the Palm of the Hand, a BC/Japan exchange exhibition in Tajimi, Japan; Ashes to Art at Crane Arts, in Philadelphia and By Hand at the Museum of Vancouver in 2010. In 2018, The Guiding Hand, featuring her wood-fired vessels, was the final exhibition at the Gallery of BC Ceramics on Granville Island. Speaking about her work, the artist said:

Years of travelling and living in different countries have exposed me to an array of cultures. My creations fuse this awareness with a fascination for and love of natural forms–factors that inform the essential character of my work.

In 2005, she guided the PGBC through their 50^th Anniversary, organizing celebrations, events, and exhibitions across the province. The year concluded with a catalogued exhibition, Transformations, at the Burnaby Art Gallery, curated by Dr. Carol E. Mayer, Darrin Martens, and Hiro Urakami.

In 2011, she worked with Linda Lewis and Debra Sloan to digitize and post the PGBC’s historical newsletters dating back to 1965. The newsletters are searchable and can be found on the UBC History Digital Program website here .

Sheila Morrissette worked closely with Jinny on the Guild’s Gallery Committee and on the Guild’s Board of Directors. She remembers Jinny as follows:

Jinny was an amazing president for the Guild. She led with thoughtfulness, sincerity, and transparency, always keeping the needs of the organization at the forefront and dedicating countless hours to the task, at the expense of time lost for work in her own studio. Hers were hard shoes to fill when she stepped down. I stayed on the Board for an additional year to help ease the transition but Jinny was always unfailingly available for help and advice.

Sadly, ill health took its toll, and Jinny was forced to retire from her studio in 2018. A much-loved and appreciated member of the ceramics community, she made a real difference to ceramics in our province. She will be long be remembered and greatly missed.

Board member Martin Peters will have an exhibition of Big Jars from the 17th to the 25th of October, 2025, at the Enishi Gallery, 269 East 6^th Avenue, Vancouver. A reception will be held on October 17th at 7pm.

Martin Peters is inspired by large Korean jars known as onngi in his own work.  He has created his own Big Jars in his studio in the Dunbar neighborhood of Vancouver.

The exhibition will be held at the Enishi Gallery adjacent to the Japanese store Itsumo in Vancouver.  Martin has recently been travelling in the Orient where he was inspired by Korean onngis.  These big Korean Jars are traditionally used for the preparation and storage of food. The big jars have been central to the Korean culture for centuries.  Mr. Peters’ work evokes the grandeur and silence that emanates from these big pots. 

For further information please contact Martin Peters at 604-202-6832; by email: jmartinpeters@gmail.com or our web site: dunbarpottery.com.

Tam Irving in his studio gallery

The North West Ceramics Foundation is thrilled with the appointment of former Board Member Tam Irving to the Order of Canada on June 30, 2025, by Her Excellency the Right Honourable Mary Simon, Governor General of Canada. One of Canada’s highest honours, the Order of Canada recognizes people across all sectors of society who have made extraordinary and sustained contributions to our nation.

The description of the achievements of Thomas Peter Caven Irving, known to us as Tam, on the official website are quite minimal:

Tam Irving is a traditional studio potter who championed the use of local materials and created glazes by crushing rocks with his studio machines. After sculpting for three decades, he transitioned into three-dimensional still-life compositions and painting. Professor emeritus at Emily Carr University of Art and Design, he has exhibited his work internationally.

However, we all know that his achievements as an artist and outstanding human being far exceed this cursory description. Quoting for our letter of support for his nomination, we write:

Tam Irving’s outstanding achievement over a lifetime is well-documented in his numerous exhibitions, writings, and presentations dating back as far as 1966. His work has been the subject of essays and catalogues written by noted scholars in Canada and the US. His first solo exhibition was held at the New Design Gallery in Vancouver in 1966. More recent solo exhibitions include Transitions of a Still Life, at the Burnaby Art Gallery in 2007; and Stillness and New Direction in Ceramics at VisualSpace Gallery in Vancouver in 2020 and 2021. Tam Irving’s functional and sculptural ceramics have been included in group exhibitions of note in Canada from 1967 until the present including A Question of Identity: Twelve Canadians at the Clay and Glass Gallery, Waterloo, ON, in 1998; Thrown, at the Belkin Art Gallery, UBC, in 2004; and Modern in the Making: Post-War Craft and Design in British Columbia at the Vancouver Art Gallery in 2020-2021. His work resides in significant public and private collections across Canada and abroad.

In selflessly sharing his immense knowledge through his teaching, writing, presentations, and exhibitions, Tam Irving has done much to promote the importance of ceramics in Canada, and the importance of Canadian ceramics to the world. In this, he has served the nation, proving to the world that Canada’s creative output stands alongside that of any other nation on an international scale. About his functional work, noted potter and theoretician Paul Mathieu has written, “It compares with anybody in the world making that type of work. . .. In my opinion, there are maybe 50 serious potters in the world that I know of and Tam is one of them.” Through his outstanding work, his technical and artistic innovations, his teaching, and his example, Tam Irving is fully deserving on the Order of Canada, which recognizes the best our nation has to offer to the world.

Well done Tam!! We are pleased and proud that the jury recognized what we have known all along, that you are an outstanding and essential member of the creative community of Canada.

Judy Chartrand, Métis Soup, 2019, MOA Collections 389/1 a-t Photo Alina Ilyasova.

The North West Ceramics Foundation is very pleased to announce an excellent opportunity, which we have the great pleasure to support. We invite all ceramic artists to consider this unique residency sponsored by the UBC Museum of Anthropology. For more information, please see their website.

The UBC Museum of Anthropology invites applications for the Ceramic Artist-in-Residence, a four-month residency program running annually from May to September. Specific start dates are flexible and will be determined in consultation with the successful applicant.
This residency is open to practising ceramic artists interested in exploring how MOA’s world-renowned collections can inform and inspire their practice. The selected artist will have access to the Judy Cranmer Ceramics Research Laboratory, located within the Museum’s Multiversity Galleries, and will engage with MOA’s collections, exhibitions and public programming as appropriate.
The artist-in-residence will receive:
• An honorarium of $2,000
• On-campus parking during the residency period
• The opportunity to make work available for sale in the MOA Shop
As this is an experimental residency, applicants should note that there are no on-site kiln facilities, and the studio has limited dust extraction capabilities. Artists are encouraged to consider these constraints in their proposals.
This residency is generously supported by the North West Ceramics Foundation (NWCF) and Carol E. Mayer.
________________________________________
How to Apply
Interested applicants must submit the following materials:
• A current resume
• A portfolio (including images of recent work)
• A cover letter outlining artistic goals, areas of interest, educational background and specific requirements for participation in the residency
Applications should be submitted via email to:
Mitiana Arbon
Curator, Pacific + Ceramics
Email: mitiana.arbon@ubc.ca
Applications will be reviewed by Mitiana Arbon and a representative from the North-West Ceramics Foundation. The successful candidate will be notified upon final approval by MOA’s Management Committee.
Deadline: April 15, 2025
Announcement: The successful applicant will be notified by email by the end of April.