Wednesday, July 31, 1991 - North Shore News - 25

A SELECTION of glassware created by B&B Glass are among
the crafts on exhibit at the Canadian Crafts Museum.

NEWS photo Cindy Goodman

Objects of intense power

MASTERS OF THE CRAFTS at the Canadian Crafts Museum, 639
Horaby St., July 11-Sept. 8. Man-Sat: 9:30-5:30. Sun: 12-5.

HE CANADIAN Craft Museum, formerly the Cart-

wright Gallery, has just moved from campy Granvilie

tsland to showy new premises in Cathedral Place at
‘the heart of Vancouver's business community.

It is celebrating this move with
an impressive exhibition of works
by the winners of the Saidye
Bronfman Award for Excellence in
the Crafts.

Although the name of the award
suggests this is a show of finely
crafted functional objects, the
works themselves, in keeping with
the curatorial policy of the
museum, tend to straddle the fine
line between so-called arts and
crafts. In addition, this is an exhib-
ition designed to reveal the links
between the process and the ob-
ject, between making and the
finished piece.

If variety is the spice of life, this
show is spicy. The artists represent

Archie Graham
ART REVIEW

The artist’s ample statements
and biographies illuminate the
process of production of the ob-
jects on view. These are richly
camplemented by photographs
and a video of the artists at work.

diverse crafts including ceramics,
metal-making, textile and fabric
arts, and quilt-making.

They also represent, to a lesser
degree, the cultural mosaic of
Canada. Quebec, Oniario, Saskat-
chewan, and British Columbia are
strongly represented, along with
Native-Canadian, Japa-
nese-Canadian, and Chinese-
Canadian traditions.

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Ail of this helps to round out the
sometimes enigmatic conception
of the art works and situates them
in a context that deepens the
viewer's appreciation.

Bill Reid’s description of his
Haida ancestors’ art as ‘‘well-
made objects of intense power’’
can be applied nct only to hts own
pieces in this show but to all the
rest as well. .

IST:

While Reid’s gold and silver
jewelry embodies the consummate
skill of the metalsmith in retrieving
and expanding the possibilities of
the near-lost tradition of the
Haida, Lois Etherington Bet-
teridge’s familiar, but expertly
stylized, utilitarian objects, made
from sterling silver inlaid with
gemstones, celebrate, she states,
“the many ‘rituals’ of our lives
— rituals we may not be aware of,
but which, when celebrated
become meaningful, beautiful and
sometimes formal, extending the
role of objects far beyond mere
function.’’

The skill and expertise are not,
however, confined to metalmak-
ing.

Monique Cliche-Spenard’s im-
maculately stitched quilts, which
contrive, according to the artist, to
take us on “a trip all in cotton”
into her native Quebec, are unas-
suming fabric folk-tales of provin-
cial life, cotton fables of warm and
cosy places.

The fine stoneware vases of
Louise Doucet-Saito and Satoshi
Saito are products of an acute
sensitivity to both the sensuous
and functional aspects of utilitarian
objects and the iconic qualities of
sculpture.

There is no question about the
high quality of the works on show

See sir? page 34

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