This five-day, hands-on workshop for intermediate to advanced students will be a deep-dive into hand-building and surface decoration. Naomi will introduce students to a variety of construction techniques, using simple templates and bisque molds to create a range of elegant functional pots. Students will also learn how to achieve richer surfaces through texture and the addition of layers of colored underglazes and slips at the leather hard stage.
August 3 – 7, 2020
$695 + gst
Registration Deadline: July 6, 2020
- 24 hour studio access
- Full access to the entire Historic Clay District site, including tours
- All firings
- Use of shop glazes and underglazes
Artist responsible for:
- Clay – can be purchased on site
- Various tools and materials (you will be notified of what to bring)
- Accommodations: Onsite housing is available at the BMO Artist Lodge for $300 + GST for 6 days (Check-in August 2, check out August 8). Fee includes a private room with double bed, shared bathrooms and communal living areas. For more information, click here.
A full refund (less a $25 administration fee) is available if you cancel by the registration deadline. If Medalta cancels, or if you need to cancel due to medical reasons (documentation required), you will receive a full refund. For cancellations 2 weeks prior to the workshop, a refund of 50% of the total fee is available. If you cancel within 2 weeks of the start of the workshop or during the workshop, we will be unable to issue any refund.
For more information contact Noriko Masuda: firstname.lastname@example.org
Naomi Clement is a Canadian artist and educator who explores ideas of home and belonging through the powerful lens of functional ceramics. She received her MFA from Louisiana State University in 2017. Naomi has participated in residencies, given lectures and workshops, and exhibited her work across Canada and the United States. Naomi was named a 2017 Emerging Artist by Ceramics Monthly magazine, and her work was featured on the cover of the September 2018 issue of the magazine.
In her work Naomi uses text from old family correspondence, which is laser cut into newsprint, and subsequently used in her decorative process. By using this technology, she is able to work with marks that are made by someone else’s hand, collaborating with the past to create objects for the future, and make the ephemeral endure.
The resulting pots ask to be noticed and examined; they convey a sense of a life lived, and of a life still to be lived; they are about making connections and wanting to make connections. A snapshot of the journey, each pot is a tether that connects maker and user—a memory bound in mud-made-stone for years to come.