- Who We Are
- What's ON
- The Waterfront
- SUPPORT US
January 22 - January 22, 2019
On any given day, these four artists have something going on. Ideas, originality, and new works come into existence continually. A walk through the corridor offers a series of vantage points into the studios and this exhibition extends the perspective. What you see is what they do.
This collection of yardage explores mark making through the technique of Shibori. Through this technique, these fabrics attempt to create a balance between colour and pattern.
Shibori is an ancient Japanese resist dyeing technique. Within this work I am utilizing Itajime Shibori, which involves clamping and folding the fabric with pieces of wood. The wood acts as a barrier to the dye, leaving parts of the fabric free of dye after the fabric has been submerged. This technique can be repeated many times for a single design.
Colour and pattern are equally important in these pieces. Triangles, chevrons and rectangles are the simple geometric forms that I have used. I make colour predictions based on current trends for the future, choosing a general range of colours seasonally. Tests and samples are then done with combinations of colours that mix into various shades in that general range, finding the combinations that work for each surface design.
Through this work I have created pieces that allow the simplicity of the shapes and colours to emerge while still obtaining a multi dimensional textile.
Stephanie Fortin graduated from NSCAD University with a BFA in Textiles and Art History and Sheridan Institute with an Illustration Diploma. Fortin creates unique Dyed and Printed yardage incorporating Itajime Shibori (involving folding and clamping) designed for fashion and domestic textiles. She was accepted into Harbourfront Centre’s artist-in-residency programme and awarded a scholarship in 2011.
I produce functional ceramic ware to enhance daily living and gatherings with friends and family; to invite touch, use and contemplation. My interest in tableware stems from a lifetime of watching my parents generously serve meals to friends and family.
My work is inspired by, and reflective of, my wilderness travels throughout Canada. These trips have produced an interest in natural processes and materials. As a result, my work is often about the methods used to form and fire the work, as well as the raw materials themselves.
Deborah Freeman earned a BFA in sculpture and a Masters of Environmental Studies at York University. She is also a graduate of Sheridan College’s Craft and Design Program. As part of her training, she spent two summers apprenticing with a highly successful studio potter.
Currently an Artist-in-Residence at Harbourfront Centre, Freeman has been creating functional pottery for over 20 years. Her work has been published in several journals and books and she regularly shows her work in exhibitions, where it has won numerous awards
I am intrigued by the trials of medicine, its impacting breakthroughs and horrendous setbacks. The act of dissection is intrusive, yet it was once our only means to understand the human body. Academic study produced early anatomical drawings depicting bodies splayed open – imagery as captivating as it was unpalatable. At once familiar and foreign, these ceramic forms imply the grace of the natural body and the visceral resemblance of our inner workings.
Megan Katz has completed a Bachelor of Fine Arts at the Nova Scotia College of Art and Design University in Halifax, with a major in Jewellery Design and Metalsmithing. She has completed an exchange programme at the Glasgow School of Art, and has attended workshops with international artists Noam Ben-Jacob and Donald Stuart. Katz is currently an artist-in-residence at Harbourfront Centre in Toronto.
In my work, I use a sewing machine to create thread drawings. By sewing into fabric that dissolves in water, I can build up stitched lines so that when the fabric is dissolved, the thread drawing can hold together without a base. For as long as I can remember, I have been drawing and crafting things out of paper, glitter, glue, plastic beads and string. It continues to interest me that folding and cutting paper can transform a blank sheet into a snowflake or that knotting embroidery floss can create a patterned bracelet. It is these slight shifts in materials that still drive me to make work.
Through these pieces, I hope to explore embroidery’s duality; its subtle quality versus its accumulative presence and its structural possibilities versus its fragility.
Amanda McCavour holds a BFA from York University where she studied drawing and installation. Since graduating in 2007, she has participated in national and international exhibitions and has recently completed residencies at Harbourfront Centre’s Textile Studio in Toronto, the Klondike Institute of Art and Culture in Dawson City, Yukon and Spark Box Studio in Picton, Ontario. McCavour has received grants from the Toronto Arts Council, the Ontario Arts Council and the Canada Council for the Arts. She has also been awarded scholarships from the Ontario Crafts Council. In her work, McCavour uses a sewing machine to create thread drawings and installations. She is interested in the vulnerability of thread, its ability to unravel, and its strength when it is sewn together.