EVENTS

Martina Lantin. Iterative Imitation (installation view), 2015. Tyvek, embroidery floss, digital print. Image courtesy of the artist.

LECTURE: Martina Lantin

November 2, 2017

Martina Lantin is a strong proponent of functional ceramics and the capacity of objects to convey meaning and significance to both maker and user. “I find earthenware the most seductive clay body. Using this chocolate porcelain, I create tableware to be integrated with the dishes you already use.”

A member of the Alberta College of Art & Design faculty since 2014, Martina’s teaching philosophy embraces the importance of well-grounded technical facility balanced with conceptual investigation, innovation and hybridity. She is committed to stretching the boundaries of contemporary craft.

We are delighted to have her present a public lecture at Harbourfront Centre and teach a master class to our Ceramic Artists-in-Residence.

– Melanie Egan, Director of Craft & Design, Harbourfront Centre

We want to thank Sheridan College for
partnering with us for this event.

Lecture Details

Lecture Title: Traces of Ornament

Location: Miss Lou’s Room, Harbourfront Centre, 235 Queens Quay West, Toronto

Date & Time: Thursday, November 2, 2017 from 7pm–9pm

Tickets: Free

Construction Notice: Please allow extra travel time when visiting Harbourfront Centre by car from October 30 – November 2. Details here.

Biography

Born in Montreal, Martina Lantin received her BA from Earlham College (1996) and her MFA from NSCAD University (2009).  She has completed residencies in the US and China and has taught workshops throughout North America. Currently, Martina is an Assistant Professor of Ceramics at the Alberta College of Art and Design.

Selected as an Emerging Artist by Ceramics Monthly her work has been recognized in numerous juried and invitational exhibitions. Martina has written articles for both Studio Potter and Pottery Making Illustrated. She also served as guest editor for the 90th issue of Studio Potter journal in 2017.

Martina investigates the boundaries of functional ceramics through both thrown and hand built forms. Slipped patterns partially conceal the richness of earthenware. These mutations of historical motifs prompt the consideration of the role repetition and rhythm have in the exploration of the everyday object.

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