Tranquil stream by Medalta
Following up on her excellent account of her time at Medalta–sponsored, in part, by a NWCF Maureen Wright Bursary— Heather Lippold has sent us an additional report that captures the combined experience of her collective, The Dusty and Gutsy Babes. A number of Babes have received support from the NWCF in the past, and we are thrilled to cheer on their success. The members of this collective represent the very best of a new generation of ceramic artists in BC! Below please find the collective account of their residency.
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In June and July 2024, our collective, The Dusty and Gusty Babes, participated in a six-week residency at Medalta’s historic Clay District in Medicine Hat, Alberta. This group included Kristine Aguilar, Amelia Butcher, Angela Hopkins, Chrystal Johnson, Heather Lippold, Tony Wilson, and Sam Knopp. The residency centered on the theme of scavenging—a concept that resonates deeply with each of us in unique ways. Together, we explored materials sourced from the natural world, urban environments, and our personal histories, using this shared curiosity as a foundation for material experimentation, collaboration, and creative growth.
Amelia Butcher shard test
We began the residency by focusing on material testing, a process that became the foundation for much of our work. Arriving with an eclectic assortment of materials, we used the idea of a “scavenger’s encyclopedia” as a catalyst for our tests. These materials ranged from wood ash, volcanic minerals, and local shale to expired iron pills, silica gel packs, laptop wiring, oyster shells, eggshells, playa dust from burning man and shards from our collective’s past projects. Some of these shards were an homage to the legacy of Don Hutchinson’s studio in White Rock, where many of us had shared his old space. While this collection might have been overwhelming for one person to tackle, it became a manageable and exciting group endeavor, transforming what could have been chaos into an inspiring collaborative experiment.
The residency unfolded with an ever-shifting dynamic as each of us cycled in and out of the studio, treating the space like a clay hot desk. Half calculated research, half mad scientist. Over the six weeks, we completed four soda firings, six firings in the Blaauw and more test kilns than we can remember. The rhythm of the residency was intense yet rewarding: make, bisque, glaze, fire, grind, repeat. Many of us discovered new rhythms in our practice, whether working by day or late into the night. The arid Alberta air was a shared challenge—we often joked about whose skin was driest, with our hands resembling the cracked earth outside the studio’s brick walls, which we also scooped up to test. The constant application of lotion became as much a part of our process as wedging clay.
Angela Hopkins glaze tests
As a group, we each brought unique goals and perspectives, yet found common ground through shared experimentation and inspiration. Whether rediscovering clay after time away, refining surface treatments, developing glazes with scavenged materials, or repurposing shards from past projects, our collective focus on exploration and growth unified our efforts. The collaborative environment at Medalta allowed us to learn from each other, deepen our practices, and amplify our individual pursuits.
The residency was not just a period of artistic growth but also one of mutual support and inspiration. We left with new ideas, new skills, and a deeper appreciation for the power of collaboration in the ceramic arts.
