YURIEO MATSUDA In cal-
laboration with UBC

July 17

KINICH!] SHIGENO In col-
laboration with Kwantlen
College

Sept. 14

TAKAKG SUZUKI in cal-
laboration with the
Burnaby Art Centre

Oct, 1F

TONY MARSH in callabora-
tion with ECCAD

Now.22

Through the Newsletter, workshops
sponsored by other local guilds have
also been advertised. These Included
Bruce Cochrane (June 22-25), Robin
Hopper (Sept.21-22), and Hank Morrow
Jar. 19-20).

Library The Board decided in 1991 to
place emphasis on the acquisition of
Videos which could then be rented by
the membership. Jan has also organ-
ed video taping of several workshops,
and at present we have edited videos for
the Bruce Cochrane and for the
Friederike Rahn workshops, and have
purchased several others from other
sources. We are also grateful for the
donation of books to the library by Ed
and Jane Bradish and by Sheila White.
This material has been catalogued,

Publications A publication about Don
Hutchinson's work, inchuding his bi-
ography, reminiscences and philosophy
is ready to go to press, This effort stems.
from a suggestion by Glenn Allison and
Jim Thornsbury to initiate an ongoing
series of technical, aesthetic and his-
tonieal articles about BoC. ceramics along
the lines of the Corpus vasorum
antiquoarum [see June 199] newsletter
for details)

Once again, | would like to encourage
members to participate more actively in
their organization. Articles, letters, ideas
for workshops, and other suggestions
are always welcome. Best wishes and a
Happy New Year to alll

Tam Irving

January, 1992

y

GALLERY REPORT

Our Annual Sale, with most work re-
duced by 20 % will be held throughout
January,

It should be noted that Hiro Urakami
has not had any involvement with the
Gallery or the Gallery Selections Com-
mittee since he stepped down from his
Position as Manager of the Gallery in
1887, Any questions referring to the
Selections Committee should be written
and addressed to the Selections Com-
mittee care of the Guild Office.

Mia Ca PtalINle
en SANGO Fer,
by MEMES os mere!

WORKSHOP WITH

MATTHIAS OSTERMANN

Matthias has been a prolific potter and
ceramic artist in Canada since the early
70's. From Contact, Winter "89, we re-
Print part of a personal profile.

“For me the process of development as a
Ceramic artist was not 4 pre-defined
Visible track, but rather a series of events
that jead from one area of exploration to
another: from domestic pots to painted
sculpture, and new to architectural ce-
ramics. Initially, In 1970, without col-
lege or art school education, I did a three
year informal apprenticeship with Ger-
man-born and trained potter Isolde Rest
in Toronto. This was followed by a year
of work aa hired thrower at Shanagarry
Pottery in Southern Ireland. In 1974,
with some throwing ability but no real
senee of vocation aa potter, and witha
growing sense that some important
drawing abilities were being neglected, |
moved on to England. Here] met through
an acquaintance the English potter
Bernard Leach. he helped me out of my
mental muddle by suggesting that hav-
ing put in four years of basic training, |
should put tn another four, “and then
see how you feel". In other words, it
takes time and commitment to know
yourselfin this profession. Al that paint
I decided to stick with it, and started my
own small pottery back in Toronto at the
end of 1974, which I maintained for ten
years. | produced decorated oxtdized
stoneware, porcelain, and earthenware,
but with the growing conviction that my
talents needed to be taken elsewhere.

An important event in my career was a
ceramic shudy tour of China, Korea, and
Japan in 1978, This gave me some In-
sight inte oriental influences in my own
work, which came from [what I call) the
Anglo-Japanese mainstream of stone-
ware and porcelain, prevalent in Eng-
land and North America. | also ceased to
feel] apologetic for firing with electricity
in oxidation; the decorated’ wares of
Tang, Sung, and Japanese Seto which I
most admired had all been traditionally
fired in oxidation. I felt a valid context

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