Vol. 16 No. 2
Fall / Winter 2021
The call for this issue invited writers, makers and artists to consider generation in its many, evocative meanings. The word itself unfolds possibilities for becoming, creation, lineage, heritage, production. It reminds us that we’re connected to people, places, processes and objects that came before us, and that our legacies continue in everything and everyone we come in contact with. This issue of Studio looks at past, present and future through paying tribute to the relations between us, our predecessors, and their legacies.
Goya (whose photograph is on this issue’s cover) and Gailan Ngan are the daughters of the late renowned ceramicist Wayne Ngan. Through archival photographs and personal recollections, they offer a hauntingly intimate expression of their father’s legacy in a multi-faceted consideration of his contributions as one of Canada’s most important ceramic artists.
Shiemara Hogarth’s essay on visibility, inclusion and circulation of the work of racialized artists relates how power and capital circulate in a specifically Canadian context. While this conversation has been rising to the forefront throughout the country and in various artistic markets, Hogarth’s nuanced take provides both critical reflection and direction for improvement. This is an important read for anyone in the Canadian arts and culture sector involved in self-reflection and active change.
Another significant figure in Canadian arts is the multimedia artist Skawennati. Working in both virtual and material environments, Skawennati has pioneered artistry that straddles both. One of her latest endeavours involved designing clothes for her digital avatar, which she presented live (albeit virtually) at Indigenous Fashion Week.
Writer and curator Tak Pham explores the themes of migration, labour and belonging through the care-full works of Florence Yee and Arezu Salamzadeh, who form the Rice Water Collective.
And that’s not all: Anna Cavouras looks at the history and growth of memorial jewellery making; Robyn Wilcox considers the work of Melanie Egan at the Harbourfront Centre; and Neil Price places the works of Tau Lewis and Kapwani Kiwanga in conversation with each other; the gracious poetry of Siku Allooloo reminds us that the beauty of craft extends beyond the tangible.
Our regular features also keep true to the issue’s theme. This issue’s Focal Point features Jesse Tungilik, whose work reckons with social justice, environmental relationships and presence, possibility and promise — Emily Laurent Henderson writes about the artist’s past and the futures his work evokes. The founder of Rue Pigalle — a modern-day women’s club for appreciators of fine craft — Isabelle Fish is featured in our Inquiries column, where she responds to questions about her professional journey. And this issue’s Portfolio highlights Robin Cassady-Cain’s handsewn, heirloom and bespoke kilts; Phil Abernethy, a horologist whose work measures the passage of time with great beauty; and Simone Saunders’ contemplative weavings, informed by her background in drama.
This issue reflects the skill, care and impact of artists, makers and writers who consider generation not just in the work they create, but in their craft and personal lineages and legacies. It has been an immense privilege to work with and present these stories and contribute to generating dialogue about contemporary Canadian craft and its impact.
Nehal El-Hadi Editor-In-Chief
CONTENTS:
Editor’s Note
FOCAL POINT Jesse Tungilik Emily L. Henderson explores the artist’s exploration of Indigenous futures and creativity. read article
Heart Work: The Art of Modern Memorial Jewellery Anna Cavouras investigates contemporary memorial jewellery making.
(In)Visible Minorities Shiemara Hogarth asks why aren’t more makers and artists of colour included and reflected in Canadian institutions? read article
The Legacy of Wayne Ngan The renowned ceramicist’s daughters, Gailan and Goya Ngan, write about their father’s life and impact.
Please Help Yourself: Exchanging Memories with the Rice Water Collective Art curator and critic Tak Pham writes about time and labour in the work of the Rice Water Collective.
Arnauqatikka Poetry by writer and interdisciplinary artist Siku Allooloo.
Virtuosity and Virtuality: A Conversation with Skawennati When it comes to craft, where do the material and the virtual meet? Curator Sasha Sobrino explores these interstices in an interview with multimedia artist Skawennati.
Material Memories The artistic practices of Kapwani Kiwanga and Tau Lewis invite us into new considerations of everyday materials, writes Neil Price. read article
A Jeweller State of Mind Robyn Wilcox profiles Melanie Egan, Director of Craft and Design at the Harbourfront Centre.
PORTFOLIO Simone Saunders (Calgary, Alta.), House of Cassady (Toronto, Ont.), Phil Abernethy (Victoria, B.C.)
INQUIRIES Isabelle Fish The founder of Rue Pigalle describes her lifelong relationship to craft. read article
