How Medalta's Ceramic Residency Inspires Creativity Part 2

This episode features talented ceramic artists sharing their experiences, techniques, and cultural influences during their residency at Medalta. Discover insights into firing techniques, cultural symbolism, and the journey of developing a unique artistic style.

Chapters

00:00 Introduction to the Residency and Artist Background
01:17 Artist's Journey and Experience at Medalta
02:04 Collaboration and Firing Techniques in Ceramics
02:40 Favourite Firing Methods: Soda Firing
03:05 How a Love for Ceramics Began
04:04 Creating Ceramic Tiles and Cultural Inspiration
05:00 Technical Aspects of Tile Making and Firing
06:08 Clay Types and Material Choices
07:20 Using Molds and Wheel Throwing
08:32 Different Firing Techniques: Raku and Pit Firing
09:30 Achieving Iridescence and Surface Effects
10:07 Animal Motifs and Cultural Significance
11:02 Developing Personal Style and Future Plans
12:48 Connecting with the Artistic Community
13:13 Cultural Inspiration from the Prairies
14:31 Experience at Medalta and Artistic Growth
15:19 Grounding and Meditative Aspects of Working with Clay
16:16 Inspiration from the Historic Medalta Factory
17:23 Creating Unique Animal Sculptures
18:19 The Unpredictability of Soda Firing
19:21 Favorite Pieces and Personal Connection
19:54 Future Aspirations and Continued Engagement with Medalta

Ceramicists will tell you, each piece tells a story, and for many artists, this journey is transformative. Today, we delve into the experiences of Anaies Mehrabian, a ceramics student at the University of Manitoba, and Charlotte Saulnier a student at Concorida University. These women recently participated in the students artists in residence program at Medalta.

Anaies began her journey with ceramics almost by accident. Initially enrolling in a ceramic class for fun, she quickly discovered that her passion for painting was overshadowed by her love for working with clay. The tactile nature of ceramics and the continuous engagement it requires allowed her to immerse herself fully in the medium. 

Charlotte says working with clay can be very grounding and meditative. She notes that ceramics can transform people and places. When people see her art they gravitate towards it and want to touch it. She says this is a great way of sharing. During her time in Medicine Hat she has been inspired by the horse. She notes that horses are able to do incredible labour and yet in her art she purposefully elongates their legs to symbolize their fragility.

The women emphasized the importance of collaboration during their residency. Working with fellow students, they shared knowledge and ensured that everyone was well-rested and supported during the labour-intensive firing processes. This sense of community fostered a nurturing environment where they could learn and grow together.

What makes this program stand out is that it is the only one of its kind in Canada. Students not only gain practical skills but also build a network of connections that can benefit their careers in the long run. Many alumni return as artists in residence, contributing to the program and mentoring the next generation of ceramic artists.

Website - https://medalta.org/

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Transcript

0:00

Hey, this is Brian again. And I'd like to ask you to do a favor. We can't do this work without people like you. So if you can, please. Like, share, subscribe, and tell your friends about bring Back the Porch. I took a ceramic class for the first year. As fun part of my program, I thought that would be my fun part. And painting would be my main focus, but it shifted, like, right away. This episode of Bring Back the Porch, brought to you by medicine at Monumental Crafting Quality Memorials of Distinction since 1970. Anaies Mehrabian Yes. Did I get that right? Perfect. Yes, you got that right. University of Manitoba? Yes. Here in Medalta and the students Artists in residence program. How did you come to be selected to come here? It's an application process. You have to put pictures of your work and write, a letter of purpose. Kind of like what you want to do here. And I explained, that I wanted to explore things that I've never done before at school because, like, the way that the school program works. So. Yeah. And I got accepted, I guess, because of that. Where are you in your studies? I'm graduating in, like, a couple days. Yeah. So this is today. This is the exclamation point. Yes. It's the. It's the end. Yeah. And how is the time being here at my delta? It was. It was awesome. First it was a lot to figure out. But that we kind of become really good friends. And the work started to kind of, like, build up. It was hard to kind of adjust a little bit to working place here. Because it's like a new space, but then it kind of got really busy quickly. And yeah, today we're kind of like almost at the end, we kind of are seeing our final results. So yeah, that's been really great. What's the, collaboration been like with the fellow students? It's been more with the firings. Because most of the firings can't really be done by just one person. It's a lot of physical and labor work. So we've been really collaborating, making sure that we are, like, taken care of, like we're getting enough sleep or, we're just like, checking on each other. And in firings, we have, like, scheduled shifts. So we kind of took care of the firing. Some of us were not familiar with that specific firing at all, but we were like really good at instructing each other also. So that was amazing. What firing technique was your favorite? So the firing sort of fired because it was very complex to learn. I still have a long way to learn it, but, just going into that, like, chaos and seeing all that information and how the firing works itself is, like, very magical. So I really that I'm obsessed with that. What drew you to ceramics and working with clay? It just happened on accident. Kind of, I took a ceramic class for the first year. As fun part of my program, I thought that would be my fun part. And painting would be my main focus, but it shifted, like, right away. And, after the first class, I became a lot of like that ceramics. And I stayed in the area. It's it's, fun to just always have something to work on. And that's kind of what ceramics is. You have to be like babysitting the pieces all the time. So do you want to make a career out of this? Yes. I'm looking forward to have my own studio. Yes. Some of the pieces that you have in front of us here are interesting. We see the usual vases and things like that. But these ceramic plates, I guess they are. They look like a wall tiles. Yes. Yes, they would be a decoration, I would think. Yes. What drew you to create something like this? So, tiles, for tiles. That was my main, main project in the letter of purpose. Because, I wanted to figure out what would be the best for me to make tiles. So I wasn't really looking forward to really get, I would say something out of the tiles that would end up in my artistic journey, like, in conceptual ways. But I was more like, technical wise, approaching it. So I tried so many different techniques slab, slip casting, mold making, press mold and all those techniques. I wanted to have the chance to just explore and see which way works best for me, because there's so many different techniques. But every potter, I think has their own, like, specific choice of technique. So that was my exploration. And it's so like in process. It's not glaze fired yet. But my whole point was to make sure that my tiles don't warp and don't crack too much, and how the firing should be. So that was like a different aspect from what I did for the other stuff. Yeah. Now these tiles, the pattern on that is that you're Armenian. Yes. Is does this reflect your culture? A little bit. In Armenian paintings, we see a lot of patterns like this in their painting. When they're painting the landscape. And I think part of that comes from when you just try to remember the landscape of your home, and part of it becomes abstract when you don't visit that place for many years. So I think that is where it's coming from. I started to draw a large landscape first, and then I kind of shuffled these. So these were kind of connected all, it's hard to find a pattern now because a lot of work has been done on them, but they kind of first started like a path, I would say all image meet. And then I shuffled around and kind of turned it into like an interesting pattern. And this has been fired. You know. It's been back for fire. But once you glaze fire it with the proper glaze, it will kind of the colors will pop up more and the, the clay will be like more white. And depending on what glaze I do, it will change a little bit. Yes, it does. Do all of these pieces start from the same kind of clay? Mostly, yes. There are all high fire clay. I also use in medium range, firing clays. But those pieces, I use them for making plates, because, I think in plates in high fire, they warp so much more. And I don't like that. So I try to use a medium range clay. But for all these projects, they're high fire. And this is a form that you would use? Yes. This is the mold. And I found this technique the best working for me. So you grab a big slab of clay. It's very thick and you kind of press it into the mold and you give it a little bit of time. Once it dries, it just shrinks a little bit and it easily pops out. And you don't have to take it by hand. You just like, put a board on it and like, flip over and that, decreases the warp edge. So I found this technique much more easier for me. And the other pieces in front of us. They look like they were thrown. On a wheel. Yes, they were thrown on a wheel. But something like this, it's been manipulated. I turned it into a square, once. It's a little bit drier than, it's on the wheel. And, I add the feet to the pieces and the handle later on. And you also signed it? Yes. That's my signature is actually my name in Armenian, but because most people don't know Armenian. Here, it looks like a signature, so I use it for my pottery. Yeah, yeah. Now, when we were talking to Elizabeth, she said that, being on the wheel and throwing was not her favorite. How do you feel about that? I think I'll posit it's my favorite. Yes. I've been throwing for three, four years now, and, the, symmetrical aspect of it and how you don't have to really think too much on the wheel. You just have to like a user muscle memory more. That's very meditating. And I really love to be in the way. Yeah. Now, some of the pieces at the end of the table, they're, they look like they've been fired differently. Yes. They've been or, fired by a technique called a raccoon. Where you get the pieces to, almost 900°C. And then you take them out of the kiln, with proper safety, and then you put it into the sawdust and that, reduction happens and that oxidation and all of those creates this techniques. I would say this was my first time trying this technique. And I was trying to see if I would like it or not. It's been a challenge, but I'm trying to like it, but sometimes it's very difficult. Like, you put all that effort and the glaze just decides to turn black. And I was like, wait, but this was supposed to be white. So, I wouldn't say this is been like, really my technique. I like to be more reliable on glazes and stuff. But some of them have been really successful. And it did. The essence to it. Yes. So this was supposed to be on most of my pieces but it didn't happen really. But it's a, it's a challenge and learning lesson. That, that, that that's exactly you know what to do and. What not. Yes exactly. And the other ones are pit fired. These two pieces. Pit is fired. Yes, it's pit fired. And, the piece, just absorbs the smoke from, different things. We put, I think, fruit. I think it was the banana peel. We put sawdust, newsprint and all of that smoke just as the magic. And a mythical creature. Yeah, yeah. These are, would say pool. Or maybe you can consider it a cow or, like, different types of animals. But these animals were found in Iran in, in Bush and in many other Arctic, archeological, let's say areas. And these animals were buried with people, in a history, to help them to go to the other universe. And I really like the form a lot. And I thought it would be good for pit firings. I made one as a test here. That's what a to me. I can see you put your personality and your yourself into everything you do. Yes. Yeah, yeah. So what are you going to take with you when you leave here? In terms of your experience. When I started working on these pieces, I was really trying to come out of my comfort zone to find a new style and updated a little bit. So I think what I achieved here would be my style coming up. And I'm going to keep working in that way. Hopefully my studio. But yes, I try to really do different things and learn the lessons, from soda firing and all that knowledge really helps you to work on your style a little bit more and see how you can use the advantages of the firings and kind of work on the pieces in the way you want it to be. Are you going to keep in contact with the other artists that you been? Yes, definitely. Yeah. I think, we're all upset that this is coming to an end, but we will be in touch for sure. And do you think my daughter will be part of your future? Yes, I hope so. I hope I can come back again for to stay a little longer. So that would give me more, much, much more time to explore other things. Have you been influenced by what you've seen here and in terms of the historic value of Philadelphia? Yes, absolutely. Yeah. Every day, coming to a studio and going back home, we bike. And the nature is like really fascinating. So I think the, Delta influenced me here also. Well that's good. You'll take a piece of the delta with you. Yes. Yes, definitely. Thank you for the visit. Thank you so much. Yeah. Thanks for having me, she added. Charlotte Saulnier. Bonjour. I'm also. From Montreal. From Montreal. How did you find your way to Medalta here in Alberta? it was the first time they were sending a student there. So they put out a, contest, and, like, people could apply and write a project about it and what they would do there. So I applied, and I got it. I was really excited to have the chance in this opportunity. But, yeah, a chance for you to come out to a different part of Canada and experience a different culture from what you're used to in Quebec. Yes, exactly. Yeah. Does that contribute to your work? Yes, 100%. Actually, the arts are really inspired from, the prairies. In my work, I work with, labor and women labouring. And I thought horses were a great symbol of labor that is often invisible. Invisible life. Yes. So the strength. I learned a lot there. Yeah. A really long like endurance. Yes. To emphasize, the words and the strength and also create a tension with the clay, the material, which is really fragile. So it's kind of, Yes. Fragile. At the same time. And where are you in your studies right now? I've just finished my third year. I'm going on my fourth, and I'm trying to apply for a master's in the the fall. And what university? I will try to apply again at Concordia because I really like Montreal. And I'm also looking for a Nasca and. Yeah, other. Place in Canada. How has it been here? For the past four weeks at the Delta with, people from all over Canada? I was super great. I don't still have the word yet to explain it because I. I'm still in it. But I'm so grateful for the community we build here. Like, everyone was so open, and we had a lot of good conversation about not only about Clay, but about, like, our art space and what we want for the future for this community. It was also a lot of new information I was able to gather here. It was my first time doing sort of firings. That's why I did a lot of tests to trying to figure out, like, this new way of, do I work with the clay? It was a super enjoyable time, and I would do it again. What? What drew you to work with, clay and ceramics? To choose. This is, as a vocation. I think working with Clay is, really something that is really grounding and meditative, like you're within connection with your body when you're doing it. It's really sensorial. You're in your own bubble, but it's also something that is really communicative to others. I feel people like when they see my work, they want to touch it. They want to hold it. And I think it's a nice way of sharing myself. How do you feel about throwing? I love throwing. It's really something that is need a lot of work. Again. Again about labor. A lot of patients ask me to be more calm and steady and yeah, I learn from it everyday. So. And I apply what I'm learning in my everyday work, everyday daily. Life. And yeah, you've had the chance to wander through the Delta museum here and see what used to be a very vibrant factory. Yes. Do you draw any inspiration from that? 100% again, I thought I was super interested in that. I was working in this industry of people that were here before me, like working and building this space. And for me, and it's just a cycle likely again, is also a cycle. Yeah. No, that was also super interesting and inspiring. Had you heard of the Delta before you, applied to the program? No. Sadly. So now you'll be an ambassador for. Yes. Yeah. With pleasure. I noticed that in among your works here, it looks like lots of other rabbits or animals. And they all have a hole in them. So they're going to become something, I think. Yeah. And tell me what they're, what they are. Yeah. So I'm going to build a, wood panel so they can all and be layered. And I can, we're going to do some little labeling also. So people in my school, are going to be able to look into it, and I can be able to share what I've learned because we need to do a presentation when we come back. Okay. Talking about this experience and everything. So that's going to be my way of presenting it okay. None of them look the same. No. That's by design. No. It's just well, there's a lot of ways that I make it. There's a person maybe, around 30 places that I mixed. But there's also three type of clay bodies. And what's interesting is we can see that the clay doesn't react the same from in the clay body. So there's a lot of combination, that you can do and create with that. Now where these all come out of a form or did you make them all by hand. No. It's from a form okay. Because I can see that there is uniformity to them as well, which is I guess part of the piece is that they're all the same in that they're all different. Exact. Exactly. Yeah. And then there are pieces here that, look more traditional, like cups and vessels and, that you have thrown. Yes. Yeah. Yes. You said that you liked the soda firing the best? Yes. I love the soda. It was my first time experimenting with it. I found it really lovely the way of thinking that it's the firing that creates the surface for you. And this. And predictability. And you have to let go of, like, sometimes I think artists have a very specific way of seeing their work. And in ceramics, like, it doesn't work like that, you just have to work with it. You're more witness of like what is happening then in control. So I thought that was really, really beautiful way to do it. How did you get the iridescence on some of these? Because they almost look like when you open up a clam and you can see the opalescence on the inside? Yes. That's a shiny glaze that, reacts with the iron inside. So it's like. And again, the soda, when it's splash on it, it's just reacting. And the carbon. So it's just And you're surprised every time something comes out because you said it comes out different. Yes. No. There is not one piece that is the same than the others. Yeah. Is there a one here that your favorite. Or is it like trying to pick your favorite child. Yeah, a little bit. I think I have a little something for the horse with bending legs. Okay. I find it kind of interesting and funny. It wasn't predicted that the legs were bending, but it's, again, showing the weight that it carries. And I found that it's form is really. It talks to me a lot. Okay. So. Yeah. Yeah. So now you going back for your fourth year and perhaps even further. Do you see the Delta in your future? Oh, yes. I would love to come back. I would love to do a longer residency here and experiment more with the solar firings. D was exceptional as a technician. I love her so much. She's so great. She's so patient with us and also so generous with, like, all her knowledge that she would bring to us. So, yes, I just feel super lucky to be to have this just introduction to this world. And I would like to pursue this. And are you going to continue to be in contact with your fellow students? Oh, yes. We're talking about, going to Ceramic Conference together. Next year. Keep in touch. Maybe applying to grants to get her to be able to reconnect and keep on building this community. Okay. Well, I'm glad that you enjoyed your time here. And, I'm sure we'll hear from you again. Thank you very much. Thank you for having me. Thank you. Mercy, mercy. I'm.