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Vol. 7 No. 1

Vol. 7 No. 1

Spring / Summer 2012


We began discussing this issue of Studio with the intention of freeing ourselves of a theme. ‘No need,’ we said, ‘to always have a centre of gravity to our issues.’ Well, wouldn’t you know it, but the Canadian craft community and the writers of our growing magazine seem to have their own centre of gravity. Even before the articles were written, there was an implicit sense of cohesion.

In our last issue, we looked at how Canada’s craft makers are crossing any number of disciplinary lines to get to their creative point. And we were not surprised that the variety of articles in that issue produced a range of definitions in the post-, trans-, cross-, multi- debates. But what could we define by asking no question at all? This is the tempting challenge presented by this issue.

The role of Studio has been shifting and growing in the last few years. While our core principles stand unchanged, our vision stretches far beyond any specific region or medium or tradition. And where we feel ourselves abutting a disciplinary boundary, we are interested in exploring it and finding reasons for choosing a side. This may be what lies at the heart of this issue’s cohesion.

There are blacksmiths set next to the largest outdoor art exhibition in Canada; there’s a look at residencies and why people do them set next to the same question applied to site specific work; there’s a whole slew of young people bucking trends in surprising ways and a group of people who want to buck all the trends and live as far away as possible. We asked five important craft curators in Ontario about the state of craft today and who they think is pushing the envelope (including one whose father shows up, unplanned, in the ‘Did you know?’ section), and we look at two separate exhibitions that respond to one shocking reality.

And what is the centre of gravity for all these articles? You’re holding it in your hands; we’re thrilled to be part of it, and thrilled you’re part of it. Keep reading.

Shauna Cake, Leopold CJ Kowolik,
Jenn Neufeld, Gord Thompson



Congratulations to Laurie Rolland and Teresa Burrows; Quintet; Village Démocratie; Watch Out: Academy of Lions; Craft Council Calendar

Did You Know?
Michael Prokopow considers Allan Fleming and his iconic Canadian logo.

Under the Radar
Spotting fresh work and talent.

Eight creative Canadians who work in Isolation.

Review: Material Explorations
Julie Nicholson looks at the recent Harbourfront Centre exhibition.

Publication Review: Thrown
John Chalke reviews the new monograph on Bernard Leach’s broad influence.

From Brigham, Quebec.


Charles Lewton-Brain, the 2012 Saidye Bronfman Award Winner
Jennifer Salahub celebrates the ingenuity and diligence of this great Canadian craftsman. The inventor of fold-forming, Lewton-Brain (long time editorial board member of Studio) listens to his material and explores and experiments towards that ‘which cannot be taught by words’

The State of the Craft
Five senior craft curators look at their chosen medium and take stock of the issues and the makers who define craft today

Medalta, the Rose in Alberta’s Wilds
Aaron Nelson introduces us to Alberta’s ceramic heritage, its impressive new developments and the promise of the future

The Tide is Changing
The young craft makers of Newfoundland and Labrador are flying in the face of expectations back to the Rock to develop exciting and dynamic craft careers

Forging a Sisterhood
A recent surge in all-female blacksmithing groups, especially the Sisters of Fire, leads to a series of interesting encounters for Lissa Robinson

Site Specific Challenge and Reward
Sally Erskine Doucette asks Nova Scotian makers about the difficulties of installation work and the pleasures that emerge in the course of sitespecific work

Vol. 7 No. 2

Vol. 7 No. 2

Vol. 6 No.2

Vol. 6 No.2