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Table Salt: A Review By Amy GogartyTable Salt was shown in the Gallery of BCCeramics June 2 to July 2, 2012What is it about salt-firing that appeals to somany potters? The process dates to the 15thcentury in Germany, when salt-glazed waresbecame the standard for sturdy, hygienicand widely-traded ceramics in Early ModernEurope. The process never disappeared, and,indeed, its popularity seems to increase witheach new generation of potters. The exhibitionTable Salt, which features six Vancouver-areapotters, demonstrates a variety of approachesto the process. The simplicity and beautyof the work confirms salt-glazing’s timelessappeal.The process involves introducing table salt(sodium chloride) into the kiln as it nearstemperature, causing the salt crystals todecompose into their constituent parts. Thesodium mixes with the silica and alumina inthe clay to produce a shiny, glaze-like surface,while the chlorine mixes with hydrogenin the kiln atmosphere to escape up thechimney as a gas. The artists in the showuse a variety of fuels including wood, oil,natural gas and propane, each of which hasits own characteristics. Additional variationsare caused by the amount of salt used andthe position of the pot in the kiln. Variabilityand unpredictability contribute to the allureof the process. Unfired pots are treated withslips and stains, leaving the underlying formof the pot revealed rather than obscured bya thick glaze. Gail Carney, a potter and potenthusiast,says that salt-glazing is almost likehaving “naked pots...the fired pot resembles asclosely as possible its original state when takenfrom the wheel—fluid, soft and moist.”Most potters who salt-glaze plan theirforms to take maximum advantage of theprocess. Forms tend to be simple, but smalldetails such as strongly ribbed walls, facets orundercuts create surfaces that catch the salt,creating zones of greater shine or contrast.Gunda Stewart is a masterful thrower whoseforms look as soft and organic as when theywere just thrown on her slow-moving kickwheel. She fires in a fast-firing wood kiln,spraying in the salt near the end with a gardensprayer. Her mugs and covered jars feature asensuous comingling of wood ash and satinysalt surfaces, which invite handling as muchas looking. Sandra Ramos also fires withwood, but her forms are more constrainedand delicately detailed with tiny stampedSandra Ramos, from the Sunshine Coast, fires a wood kiln. Her work is a combination ofthrown and altered and handbuilt pieces.designs. She combines throwing and alteringto create a series of small oval, footed servingdishes with matching spoons, which come inan array of muted colours.Vincent Massey makes the most flamboyantand gestural work, patterning jars andcasseroles with layers of slip that crawl andbecome glassy under the application of heavysalt. His use of strongly faceted forms enhancesthe effect even further. Cathi Jefferson is bestknown for her use of natural imagery: trees,flowers, fish and other designs subtly markher toasty surfaces. Her sets of nesting bowls,covered jars and sculptural forms incorporateprecise details such as lids that conformclosely or shaped components that fit togetherin intricate ways. Her pyramidal sculptures,covered with patches of slip and stain toresemble trees, recall the mountain tops of herVancouver Island home.Jackie Frioud fires her sandy stoneware in anatural gas kiln. She focuses on nesting disheswith kanthal wire handles, lidded canisterswith bird knobs and shallow hemisphericalcups. These come in several colours includinga lovely soft blue and a surprising brick red,which is softened by the speckles in the clayand the effects of the salt. The forms aremodern and deceptively simple; attention todetail in terms of scale, proportion, handlesand rims make these little gems. Lari Robsonhas produced his salt-glazed functional wareson Salt Spring Island for many years. He usesa very slow, labour-intensive oil-drip kiln that“sends the salt around the kiln in constantlyfascinating and unexpected ways.” His formsrecall traditional English studio pots withtheir generous strap handles and orange peelsurfaces.Table Salt takes its name from the salt-glazingprocess used by all the artists, yet it also refersto functional pottery to be used at the table.All six artists are masters of their craft, and byexhibiting as a group, they show that variationand individual identity still thrive withinboundaries imposed by technical challenges.The exhibition highlights a fascinating andcomplex process, yet its most importanteffect is to affirm the importance of beautiful,functional pottery in the lives of those wholove it.Vincent Massey’s pottery is fired in a gas kiln in Whistler. Hisgenerous forms and gestural decoration are distinctively his own.Potters Guild of BC Newsletter . July/August 201212
ClayLinesCelebrating Success in our communityThe exhibitions, calls for entry and special events included inClayLines are just some of the items listed on the guild website.Website listings are updated regularly, so check back oftenhere: www.bcpotters.com and click on "What's On".Pottery Sale, NanaimoThe Nanaimo Pottery Co-op’s Summer Show and Sale will be heldon Friday, Aug. 24 from 9:30 a.m. to 9 p.m. and Saturday, Aug. 25,9:30 a.m. to 5:30 p.m. The location is Country Club Centre, 3200 N.Island Hwy, Nanaimo. Free admission to all and no tax on pottery!All purchasers will be entered in a free draw for a pottery item. We arelooking forward to seeing you there!Featured artist, CourtenaySubmissions for the September2012 PGBC newsletterPlease get your articles and ads in to Melany by August 20 at thelatest for the September 1 newsletter. If you submit your materialafter that date, it may have to wait till next month's newsletter.Sub missions can be sent to editor@bcpotters.com.UnclassifiedsWanted: The Richmond Potters' Club is looking for anexperienced teacher to teach a beginners` handbuilding/throwing classon Wednesdays from 11 a.m. to 2 p.m. Please apply with experienceand references to Arlene at arskelpottery@shaw.ca or Mary atc.marymacneill@gmail.com.GALLERY OF BCCERAMICS: DEADLINESGallery Retail juriesThere is one remaining gallery retail jury for this year, Sept. 10.Tentative dates for drop off of new work to be juried next year arethe first weeks of March, June and September. Exact dates will beconfirmed in January 2013.Exhibition juriesThis is a reminder to members that you can now apply for anexhibition at the Gallery of BC Ceramics at any time duringthe year. We hope this will allow more flexibility and allow youto put together your submissions when inspiration actually hitsyou, rather than having to wait for a specific date to submit. Wealso look at scheduling a two-year period to allow more lead timein creating work for exhibitions as well as creating a balancedexhibition program.For more specific information on either jury, please refer to theGuild website www.bcpotters.com/Guild/. Select “Forms/Get aForm,” which will take you to a page with forms. For the gallery,select “Gallery Jury Application,” and for exhibitions, select“Exhibition Jury Application.” The direct link is: www.bcpotters.com/Guild/forms.phpThe Potter's Place on the corner of 5th and Cliffe in DowntownCourtenay is pleased that Shelley Combs will be the featured artistfor the entire month of September. Fun, colourful and whimsical,Shelley's pieces never cease to delight. The show will openFriday, Aug. 31. Please join us from 3 to 7pm and meet the artist.www.thepottersplace.caPotters Guild of BC Newsletter . July/August 201213
Page 4 and 5: Tactile Desires: The Work of Jack S
Page 6 and 7: Shary Boyle to represent Canadaat V
Page 8 and 9: JOHN REEVE, 1929 - 2012By Nora Vail
Page 10 and 11: Elementum; Form,Function, FeastBy M
Page 14: Submissions & AdvertisingPublished

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