Making and Decorating for Cone 1 Salt & Soda with Andrew Kellner
January 9, 2026
Fauna Figures: Sculpting Full Figures from Slabs with Jai Sallay-Carrington
January 9, 2026
Workshop Description
In this hands-on workshop, Lindsay will lead participants through creating small figurative sculptures using low-fire earthenware, combining hand-building with expressive surface decoration. Participants will learn Maiolica, a traditional low-fire painting technique where colorful slips are painted onto a white surface, producing rich, watercolor-like effects.
Using the figure as a starting point, the workshop encourages participants to draw from personal stories alongside historical and pop-cultural references. Through guided demonstrations and making time, participants will explore the sculpture in both 2D and 3D, discovering how drawing, painting, and sculpture can come together on clay.
The workshop will cover foundational skills such as building and refining figurative forms, developing gesture and proportion to convey the expression you are seeking, and using surface imagery to enhance narrative and expression. Lindsay will demonstrate Maiolica techniques focused on layering, line, and color, giving participants tools they can continue to use in their own practice.
Participants are encouraged to bring pre-bisqued work in order to immediately dive into the Maiolica process. Time will also be available to hand-build new pieces during the workshop.
Open to all skill levels, this workshop is beginner-friendly while still offering fresh approaches for experienced makers interested in figurative work, surface, and storytelling. By the end of the workshop, participants will leave with one or more low-fire figurative works or decorated greenware, depending on studio firing schedules.
Participant Required Materials:
- Students are welcome to bring pre-constructed bisqued tiles or small vessels in red low fire clay
- A variety of basic ceramic tools and a good selection of brushes
- An apron and water bucket-painting water container
Instructor
Lindsay Montgomery
Workshop Dates
Thursday, July 23 - Friday, July 31, 2026 (9 days)
Registration Cost
$1,281 +GST
Registration Deadline
Tuesday, June 23, 2026
4-Lodging
$540 +GST
*limited spots*
Registration opens January 20, 2026 @ 10:00 AM MST
Photo Gallery
About Lindsay Montgomery
Biography
Lindsay Montgomery is a Canadian artist working across a variety of media including ceramics, painting and puppetry to create objects, and performances. Her work is focused on creating mythologies that confront and re-imagine classical narratives to address a wide range of topics and issues including: death and mysticism, feminism, and evolving modes of power.
She earned a BFA from the Nova Scotia College of Art and Design, and received her MFA from the University of Minnesota. Her work has been exhibited widely in Canada and internationally with exhibitions at The Gardiner Museum for Ceramics, The Archie Bray Foundation, the Art Gallery of Nova Scotia, and multiple exhibitions through The National Conference on Education in the Ceramic Arts.
She is the recipient of numerous awards including The Winifred Shantz Award for Ceramics, The Helen Copeland Memorial Award, The Joyce Carlyle Memorial Scholarship in the Crafts Endowment, and individual project grants from The Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council. Her work is included in the permanent collections of The Gardiner Museum for Ceramics, The Canadian Clay and Glass Gallery, and the Musée des Beaux Arts in Montreal. She lives and works in Toronto.
Artist Statement
My work examines the mythologies and craft traditions of western Europe to create new vessels, figures, stories, and performances that update historical narratives and practices to connect and continue ancestral craft traditions, as well as deeply critique the problematic foundations of western society.
I reimagine objects, stories, and rituals from the past and spin them with new meanings and messages to reveal the slow spiritual progress we’ve made since the Dark Ages in the hopes of both preserving and continuing important craft traditions without erasing or perpetuating harmful attitudes, as well as critiquing the evolution of western society with its continued penchants for violence, colonization, and discrimination.
I continually highlight the separation of craft from consumer culture in my work to solidify its place as an essential exercise for us all to create meaning and connection in an increasingly non-tactile and isolated world.
