pane &

Continuing Education

September 1996 marked a particularly
importante poine in my life. For the first
time in 21 years | did not have co ger
prepared to go to school. No anxious krots
in my stomach, no tuition fees, no
wondering whether or not I was going to
make it chrough yet another year —and no
more additions to my studenc loan! Bur
with that feeling oé elation came the
realicacion that not only was it me to pay
back my borrowed money, bur also chat my
intellectual support system had
disintegraned; | no longer had instructors
giving me assignments to complete, fellow
students to commiserare with, critiques te
participate in, and mo graduation show to
plan for. School was my job, When |
graduated, [ tele like an employee of a
downsized corporation. [ found myself
doing what many careet-oriented people are
doing these days —undergoing a career
change, and (ironically) getting “retrained”.
Jam immensely happy that [ have been
“restructured”, because | did, afterall, ger
our of school what T intended to: a
dogweed (grade 12) certificate, a bachelor's
degree in biology and a bacheloe's degree in
fine arts, But, instead of a far early
retirement cheque, or a gold watch, ['ve
been left with a couple of flimsy pieces of
embossed paper and a $23,000 loan to pay
back.

Was it all worth it? Yes. My education has
taught me how to work hard, how to think
critically, how to get used to the idea char
hard work doesn't always reap rewards

— qualities needed to become a good potter,
Of course [ had foreseen this lifestyle
change, so T had already started planning for
it a year in advance. I set up a studio in the
basement of the house chat my parmer,
Rick, and [ rent and share with our two
cats. | cransferred all of my tools, and some
of my work habirs, from che ciny space |
inhabiced at Emily Carr Inesiture of Are and
Design to my comparatively lofty dwelling
and [ continue my “real work” or my “own
work”, or my “clay work” there. This is
complemenred by my part-time work as a
Gallery Assistant at the Gallery of BC
Ceramics.

What [ enjoyed about being a student is
having a structured lifestyle; spending part
af the time in classes with encouraged
interaction with others, sharing ideas, and
being guided co question my work by

instractors. The balance of dime involved
solitude, thinking, puzcling and a lot of
self motivation, As school life has keen «
peedominanr during my existence (it has
wccually become a habit), fam conscsously
trying Co retain that balance of sctiviry in
my post school years. My work ar che
Gallery of BC Ceramics provides, in a
sense, the “in class" portion of my life,
while maintaining my pottery business
remains “my own business” und the
introspective activity |] need and crave.

[learn a Jot from working at the Gallery.
Often | run into students who remind me
of where | came from. They are either
looking for ideas or for a sympathetic
person who appears interested eo hear
how large a workload they have. I also
have impromptu conversations with other
potters which, usually brief. cake place
while they are unpacking a load of work
for the gallery. This is my chance to get
answers CO questions thar have been
Nagging me im my studio, whether it is a
mabolica glaze question for Graeme
Allemeersch, a cone-building question for
Patrick Taddy or on the business end of
things, an accounting question for Jane
Matthews, who is conveniently just
upstairs. | save up my questions until the
right person walks in, [t is a luxury when
a guild member volunteers for the day and
we can have a relaxed discussion about
more ethereal ceramic topics. Qut of all
the chars I have during the day, most
importantly | have silent but carefully
navigated conversations with che ceramic
pieces themselves as [ guide chem from
cupboard to plinth, or from counter to
bag, and our the door. J learn a great deal
from handling work all che time. [tis
upon careful examination of so many
potters’ pieces that | develop a feeling for
good work, and how best to display ir.

$o although | was a good student and [
did all chat was required of me, [ worked
myself out of an occupation. However,
the learning continues as | face juries,
production deadlines, or ory to create an
effective show of ceramic Christmas
ornaments in the window of the gallery. [
look forward to increased outpuc from my
studio, and [ lock forward to the next
conversation | may have, whether ir is
with a guild member or a casserole dish.

Julia Maika

It was decided at
the October 4th
mecting of the
Tecan Cultural
Society that we would embark on a “Tile”
fundraising project. We are inviting all
members of che Torn Society to
Participate by ottering designs for the tiles.

Thoee sizes are being considered, 4 x 4,
4x3 &6x6,

As a nonprofit society we are not offering
any prize money. We will, however, give a
beautiful Tozan T-Shirt to chose
participares whose designs are selected.
The Deadline for che designs is December
15, 1996, Send them to: 7265 - 143 Sc.
Surrev, BC, Canada. V3'W 5PI,

Anyone who has slab rollers available
please contact Shirley (594-2650) to
arrange a half day of producing the chosen
tiles with assistance from the portery
clubs,

If you are not a member, bue want to be,
write to RRA#4, Ladysmith, BC, Canada
VOR 2EQ of phone (604) 245 - 4867.

The Tozan Society has decided to fire in
the last 2 weeks of May and the first 2
weeks of August. This should ensure
good wearher and betrer access to the
college dorms.

Linda Christiansen will Jead the womens
Anagama firing, and Jack Troy and Tor
Bjorn are being considered to lead the
Tozan firings next year.

In last month's newsiewey, the article on the
history and philosophy of Tozan kilns, along
with Yukto's quotes was taken from a longer
text prepared for the Toran Sociery by
Veronica Shelford, | apologize for nat
crediting Veronica and would like to thank
her for prowding that wonderful article,
Karen Opas