The function of function

Lately I’ve been working on my functional work a lot more, primarily because my soon to be new studio is in the process of being insulated and my current work space in the basement of my house is poorly lit and has only enough room to house my wheel and a limited number of drying pots. But I’m not complaining as I love a concentrated time to focus on either body of work without distraction. But the functional has gotten me thinking again lately…I think I question myself more about my reasoning or justification for making objects in an object saturated world in relation to the functional work over the figurative work. Likely because of the more obvious intent and desire for critical dialogue that the figurative work brings forth. But my aim has always been for the functional work to also compel dialogue, particularly about sustainability of design over disposability, the handmade as an environmental/social/political stance, as resistance to market driven desires over and above the desire of the consumer and finally as a means to address the individuality of that consumer in the face of homogenizing marketing practices.

But then there is a reality that sets in when the work itself, imbued with whatever meaning I desire for it, is presented to the public and somehow the most common question then becomes, “what is this for?”. Well this is a bowl, it’s for eating out of, serving food, holding paperclips, water for your cat, sitting on a shelf unused but perhaps visually appreciated, but likely collecting dust. Some days I feel like my intent falls flat. But the intent is itself likely quite esoteric anyway and therefore who cares. But I question myself when I’m making the work what I can be happy with, what makes making the work meaningful and rewarding enough for me to continue. And I think what it comes down to is the simple appreciation that I’ve caught glimpses of in the faces of those who have purchased or received a piece. There is an awareness I like to think, of the patience, the consideration, the skills, the dedication and the love that goes into each piece that I think the owner gets on some level and that to me taps into all of the intent and content that I try to put in the work.

Recently I returned to Edmund DeWaal’s website . Way back in my early days of throwing I often looked to his work for inspiration. And a lot of his more recent installation work sparked interesting questions about the presentation of functional wares and their use value, in particular how this use value can fluctuate between traditional notions of function and more conceptual notions of function.


I find this second image from his site particularly compelling. It’s from a 2 part exhibition in two separate locations, one Kettle’s Yard and this one at mima (Middlesbrough Institute of Modern Art). There is an interesting play undertaken by the artist which melts together the history of functional wares, traditional forms and historically revered glazes, the personal and social lives of pots and the cultural signifiers that they become through museological interpretation. The approach taken by De Waal to both address the material in space as well as the space’s intervention or influence on the material is both poetic and inspiring, hinting to me of numerous associations, whilst remaining simplistic and focused on it’s meaning.

On the site there are various downloads definitely worth a good read. The one for this specific project is a catalogue of essays which will take you much farther into De Waal’s work then could ever be accomplished here. And beyond that the photos alone are worth the visit.

There is a quote by Jorunn Veiteberg from the catalogue that is beautifully elaborated upon which states; “It is no longer just porcelain that is his medium, but also the museum itself.”

I guess I have a lot to ponder today as I humbly take my seat at my wheel and begin to mold and manipulate the clay. There is so much to consider beyond the object itself, beyond the medium itself. Beyond the function.

Here’s wishing you a creative and productive day.

Monday after all…

Well after the hot heat of last week, today’s overcast sky is a welcome sight, but for a monday it’s also promoting a bit of procrastination as I find myself still on the computer looking over old bookmarks of sites I intended to, but rarely got back to. So I thought another post of eye candy was in order as it’s not a day for deep thoughts or critical engagement, it is monday after all…

This piece is one I fell in love with a while back on the Rose and Radish site by Royal Tichelaar. They also have work by Hella Jongerius and these cute pieces by Jorine Oosterhoff.

And check out this sweet piece by Gesine Hackenberg.

Akar Designs’ current exhibition is showing the awesome work of Kevin Snipes. Yummy pieces still for sale on the website.


And on a more local note here is a few pics of the work of a friend of mine Zane Wilcox, who is a amazing potter as well as ceramic sculptor. He currently has an exhibition up at the Saskatchewan Craft Council in Saskatoon, definitely worth seeing.


nice design


A few weeks back I was in Calgary for a visit and stumbled across a great design store called KIT. It was one of those shops so filled to the brim with beautifully designed objects that you have to leave without picking up anything at all or else risk taking home too much. But one piece has plagued me since and I finally found it this morning. It was a beautiful porcelain plate with a crisp red design, produced by the company ARTECNICA.


The company mandate is worth a read as they advocate “design with conscience” and work on a global scale with designers and artisans to produce objects that are sustainable in their production and materials.

From their website: “Our challenge is to develop a competitive product that will encourage the survival of indigenous craft. Fulfilling this mission requires a smart designer, a savvy and visionary project producer, and a willing and ambitious artisan. Our objective is to avoid the mechanization of the artisan, which devalues his work and undermines the project from both a design and an economic standpoint.”

“design with conscience projects employ production methods that are human and environmentally friendly. we denounce child labor, promote safe, toxic-free environments, and use purchasing criteria that prevent labor and environmental exploitation. our vision is to promote self-sustaining communities of skilled artisans in underdeveloped countries. design can be used to advance living standards worldwide. through design with conscience, artecnica hopes to inspire others, promote global awareness, and help generate a better and more humane world.”

hmmm…nice.

Here are a few other designs from their site:

I love these reinterpreted bottles because it’s less about the recycling of materials, which takes it’s toll on our environment as well, but about finding new uses and interpretations for the objects that already exist.

ARTECNICA also works with designer Hella Jongerius, and she’s one of my personal faves. Below is a projects she’s developed with ARTECNICA in which “Artisans located in the primary coca leaf-growing region of Peru handcraft the collection. With the help of Aid to Artisans, a non-profit organization that provides practical assistance to artisans worldwide, Artecnica offers an alternative economic reality to the people of this dangerous and oppressed area.”

Here are a few other images of Jongerius’s work which I can’t get enough of.



Alright, that’s enough eye candy for one day…off to work!