Studio Magazine

Poetry by makers brings a unique experience to the written word. How is everyone finding our expansive feature of craft? This snippet from "Ode to Queer Black & Brown Weavers" is by melannie monoceros, a poet and interdisciplinary artist exploring polysensory production and somatic grief through text/ile. Their work considers the collective qrip (queer+crip) consciousness by connecting to marvelous bodies living with complexity as sick or disabled. A Black, Taino-Arawak creat...or, they live in Treaty 1/Winnipeg, MB; home of the Metis First Nation and the traditional territory of the Anishinaabe, Dene, Cree, Dakota and Oji-Cree Nations. *** RK When I remember to come into my breathing at the front beam I thank your rootedness and the way you co-create with your own body as anchor. Offering the depth of your knowing to curious and uncertain hands. Sharing it with fingers knotted from seasons of stitchwork. When the algebra of treadling overwhelms my synapses and self doubt whispers insults of ignorance and inability, This lineage of queerkin threadbarers catch my dropped stitches and drooping shoulders. Reignite my fibre fire and together we weave, heaving our deepset histories, our dusk-whispered fantasies forward, skyward, onward in cloth. *** From the Fall/Winter 2020-2021 issue of Studio. https://www.studiomagazine.ca/issues/2019/vol-15-no-2

A conversation with Jim McDowell on Smithsonian Folklife - on the history of face jugs, appropriation, reclamation and reckoning. "Over the past year, McDowell ...has begun marking every jug with BLM, a nod to the Black Lives Matter movement. I write BLM on my jugs because for so long we’ve been told we’re not worthy and not capable, but the world needs to know the contribution Black people have made to this country and are still making to this country. We need to be included. See more

Introducing our Fall/Winter 2020-2021 issue! Highlighting Accessibility through different aspects of craft and design. Keep an eye on mailboxes, or click the link below to get your copy!... https://www.studiomagazine.ca/issues/2019/vol-15-no-2/

Studio is seeking articles and ideas for the Fall/Winter 2021 issue theme of GENERATION, playing fast and loose with its etymology, meanings, synonyms, and antonyms: generate, generative, degenerate, generations, degeneration, regenerate, etc. This is intended to encompass everything from lineage to heritage, production to duplication, creativity to exploration. We will explore generation in Canadian craft and design from any and all perspectives and angles, from tools to pro...cess to geographies and materials, markets and galleries. Some prompts to consider: Craft lineages and heritage Histories and futures Paradigm shifts Traditions Social change and upheaval Collaborations Relationships and connections Radical change Sites, spaces and infrastructures Virtuality and materiality Head to https://www.studiomagazine.ca/submission-guidelines to see the full submission guidelines. The deadline for pitches and story ideas is January 15th, 2021. Image description: Two hands shaping a vessel at a pottery wheel.

"A big part of effective craftsmanship is knowing just when to care, and how much."

https://www.artsy.net//artsy-editorial-quiltmakings-deep-t

Join Studio's Editor-in-Chief @iamnehal, Harbourfront Centre's Director of Craft & Design Melanie Egan, and Craft Ontario's Executive Director Janna Hiemstra this Saturday November 14th at 1pm for a moderated panel with keynote speaker Seetal Solanki on "Materials: Translating Meaning". @harbourfrontcentre, in partnership with @craftontario, will deliver a symposium that brings together craft and design professionals to explore and discuss intersections between making, culture and material innovation. Registration for the symposium at https://harbourfront.live/festival/material-sampling/

Sharing a fascinating piece of craft history, repost from @still.life.woven : "Loom Music was a periodical published in the 1950s & coauthored by Ethel M Henderson, Mary Sandin and Mary Black. Ethel was from Winnipeg, my current home, and was a cofounder of the Guild of Canadian Weavers (check us out @guildofcanadianweavers). Mary Black was a polymath who ghosted over my time in Halifax at NSCAD. The title alone spins up my ideas of weaving as living metaphor, poetic practice, and resistant act. Can’t wait to read ‘em @kanedotca - thanks!"

https://hyperallergic.com//decoding-craft-gallery-222-in/

Today is #orangeshirtday, a day of remembrance for the Indigenous peoples who were impacted, and who lost their lives as a result of the residential school system. This beaded and tufted pin is by Vashti Etzel, a maker from Yukon territory. "Orange shirt day on Sept 30th. I made this for my son last year he will get to wear it in honor of our Residential school survivors Don't forget to wear your orange "

Interesting that craft has always occupied the space between 'necessity' and 'luxury'

"In a culture that hierarchizes its own material production placing ‘high art’ at the top (endowed with aesthetic and intellectual values, and a status of uniqueness), and crafts in a lower category (primarily defined by their functional status and mechanical reproduction), although aesthetics and innovation can be important factors that distinguish traditional crafts from contemporary design, while sometimes blurring those boundaries it is no surprise that African or ‘black’ crafts would receive very little recognition from the West."

Yesterday was the equinox, where both night and day are the same length. Here is a work by maker Audie Murray, a multi-disciplinary Métis artist from Saskatchewan currently based in unceded Lekwungen territory (Victoria, BC). Working with themes of contemporary Indigenous culture and ideas of duality and connectivity, Murray draws on time-honoured techniques and contemporary concepts to inform her material choices. "Happy fall equinox ‘Material Study no.4; Hilma af Klint’ . Deconstructed canvas slip-on shoes, seed beads , black velvet and insect pins."

Ancient civilizations' culinary habits have been revealed by the great British archaeological bake off, feat. unglazed ceramics.

I originally made this chart for the great folks over at the communiTEA discord channel. I hope it helps some out here too! I couldn't find very complete charts... of tea shapes online in a clear portrayal so here's my version. I tried to get as correct profiles and translations as possible, but I may have made mistakes as I'm not by any means an expert on teaware. Enjoy!

Beautiful basket work.

https://torontolife.com//in-conversation-with-artist-jagd/

Get a behind-the-scenes look at Heidi McKenzie's studio https://vimeo.com/455251488

Desert Mob 2020 is here! #HermannsburgPotters used a limited palette on their works for the exhibition this year - pictured with their works are Rahel Unhwanaka..., Rona Rubuntja, Dawn Wheeler and Judith Inkamala - and a group shot of all the pottery ladies who came to town to see the exhibition as part of the artist preview and lunch thanks to Desart !! Be sure to see the exhibition in person or online at Araluen Arts Centre See more

"Jason Loganof the Toronto Ink Company physically captures the place, taking pieces of it to transform into inks that embody their origins. A trip around the world found him in Death Valley, mining for salt and chalk while collecting flowers from the scarce plant life around him." Read the full article written by Jessica Sharples in the Spring/Summer issue of Studio.

"What can a body do, then, but also: What can design do to empower the body? How can design help us reimagine what doing looks like, in a way that embraces difference rather than pathologizing it?"

Combining traditional craftsmanship and modern technology, Ande Brown incorporates her background in geographic information systems, design and 3D technology to manually assemble icosahedron maps. Read the full Portfolio feature on our website. Link in bio. Ande Brown, Icosahedron Globe, 2019