• 

  www.ceramicart.com.auCeramics: Art & Perception - international journal

  Volume 2004 Issue #55 - Pages 72-76YASUHISA KOHYAMA, Modern Shigaraki PotterPages 72-76

• 

  Page 72 - first page of the articleThe essence of his work is strong masculine energy.

  "During the cutting of the surface of an object there is an instant of intense energy that is transferred... people viewing his work feel the impact of the power and freshness of it."

• 

  Volume 2002 Issue 48 Pages 76-81Jonathon Bancroft Snell presented a diverse and comprehensive show of Canadian ceramic art.

  "Does your geographical location or cultural background impact on your work?" A survey of answers to this and other questions from 50 Canadian artists.

• 

  A good education forces critical thinking, risk taking and growth from your mistakes.

  ....a support system for initiating a personal voice within the field. We ceramic artists feed off each other's energy and innovation - sometimes unspoken or sometimes through exhibitions, lectures or casual conversation. (Bruce Cochrane)

• 

  Ngan built his wood kiln after seeing a Song dynasty model in the Beijing National Museum.

  He speaks of "the fluidity of the materials in ceramics... you can use clay for sculpture, it helps you clarify your drawings... so that finally "an inner necessity comes out from deep inside you, and this is not something you can get from educators... all life force connecting with the universe... an inner calm is necessary."

• 

  Winter 1996/97 No. 107 Pages 16-19ELLEN SHANKIN: Exploring Form, Keeping Function

  Since completing formal education in ceramics at RISD and Alfred, Ellen has worked in her rural Floyd, Virginia, studio as a potter. Her thrown and altered forms are intended for use. "The pot has to want to be used."

• Spring 1997 No. 108 Pages 28-30contact: Ceramics from a Canadian Perspective

  WAYNE NGAN - by Shirley Clifford"When you understand the complexities, then simplicity becomes meaningful" This... embodies Wayne's work and philosophy. Ngan... lives and works on Hornby Island, British Columbia, Canada.

• Fusion Magazine: Ontario Clay & Glass AssociationVolume 21, No. 1, Winter 1997 Pages2-3

  FORM, FUNCTION & PHILOSOPHY - 1997 Fusion Conference - Highlights

• "It's about clarity... a 'good pot' speaks clearly and soundly in a total way about itself... whether it is classical, whimsical, fragile, haughty or humble, it should sing of its nature, in rim, foot, body, surface treatment."

  Ellen discusses her formal ceramic art education, her work and firing schedule, her marketing and business practice, as well as her long-term goals.

• Fusion Magazine: www.clayandglass.on.caVolume 31, No. 3 Autumn 2007 Pages 4-5

  APERIATOR - which means "it shall be opened". St. Augustine concludes his Confessions with this one word - an invitation to open yourself to adventure, to explore, to have a faith journey in life.

• A panel discussion on the theme of Functional Ceramics in Canada. Harlan House moderated panelists Bruce Cochrane, Sean Kuntz, Jonathon Bancroft Snell and Scott Barnim.

  As a result of the passionate views expressed, the audience responded with a lively discussion. You can read how many individuals voiced their opinions on marketing, pricing ware, and on aesthetics.

• Ellen Shankin - "Her forms are strong. The glazes and washes enhance their clarity, and the colours make them sing. The glazes look like ash glazes... rivulets in mountain streams as they flow over the earth's rock formations."

  Wayne Ngan - "a master craftsman whose work is in the Canadian Museum of Civilization, Royal Ontario Museum and Canadian Craft Museum. He has won the Saidye Bronfman Award for Excellence in the Crafts."