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Due to construction in the area, please allow extra travel time when visiting Harbourfront Centre. Details here.
January 21 - April 23, 2017
January 21 – June 18, 2017
Lighting is an essential element of everyday life. Like moths to flame, we are inherently drawn to it. It is beautiful and functional. It is technical and sculptural. Lighting can be used simply to reduce darkness, but it can be so much more. Everyday Lighting is an exploration of illumination for practical use at the intersection between craft, sculpture, and design. Through the individual interpretation by ceramicists, glass artists, and designers-in-residence at Harbourfront Centre’s Craft & Design Studio, various forms of illumination are explored. Whether it is reducing darkness, adding sparkle, providing comfort, producing reflections, refractions, growing a plant, or playing with shadow, each piece addresses the function and beauty of lighting in different ways. Katharine Tessier has guided each participant to seamlessly incorporate the latest in LED lighting technology into their already impressive bodies of work.
Part of the Toronto Design Offsite Festival (January 16-22, 2017).
Katharine Tessier would like to thank:
Turn of the Century
Nelson & Garrett
Katharine Tessier has worked in Toronto as an Industrial Designer for the past dozen years. She works as a Product Designer and Lighting Designer, but also as a Design Engineer, and Project Manager. She is a Professional Member of ACIDO (Association of Chartered Industrial Designers of Ontario). Through vast and varied experience in the design and manufacturing community she’s become invested in improving the relationship between local manufacturers, local designers, and the local economy.
For this exhibition I aimed to work the glass is a way that highlights what I feel are underappreciated material qualities of glass as a design material. Glass is a unique material in its ability to manipulate light. It may transmit, transform or even seem to capture light. Random patterning of curved glass on the surface provides constantly shifting focal points of light emission as the viewer’s point of view shifts. A softly etched interior gives the illusion of capturing light, simultaneously holding and emitting light. Light bring glass to life.
– Ed Colberg
Ed Colberg was first introduced to working with hot glass in 2005. He has studied glass blowing and glass sculpture with many talented artists in the Canadian and international glass art community. Ed currently lives in Toronto, Ontario where he has been a full time Aritist-in-Residence in the Glass Studio at Harbourfront Centre since 2014.
Come to Light is an ambient lighting fixture designed for narrow entryways and small living spaces. Designed for urban living, the fixture aims to accommodate condo living by being functional for both light and storage. With the hope of replacing the antiquated nightlight, Come To Light features a dimmer tailored to suit the size of the space and the time of day. The light’s additional features include a small shelf and multi-purpose vessel which is illuminated from the below.
Aurora Darwin currently resides in Toronto, but spent her formative years in South East Asia where she became influenced by the forms of concrete structures and contrasting tropical forests. These elements manifested themselves when she discovered glass, a medium malleable enough to depict both the strength and structure of cities and the serenity and power of nature. Darwin has been an Artist-in-Residence at Harbourfront Centre since 2016.
Aroma wall light provides two LED light-spectrum settings for both you and your plant. As humans, we rely on plants for a lot of our survival needs, including oxygen and air purification. Plants not only purify our air, but can also produce scents. Plants such as lavender and rosemary are cultivated and distilled into essential oils for candles and air diffusers. Aromatherapy essential oils are believed to stimulate brain function, improving psychological and physical well-being, enabling the body’s natural healing process through our sense of smell. Specifically, lavender is considered to be the most versatile essential oil, relieving digestive, respiratory and nervous system tensions. Lavender is also natural remedy for sleep and anxiety disorders, making it a perfect bedside choice to plant in the Aroma light. Whether in a low-light or even no natural light apartment, Aroma provides the resources and space to bring life, aeration, and aromatherapy into your home.
Toronto product and jewellery designer Jade Dumrath recently became an Artist-in-Residence at Harbourfront Centre in 2016, after working as a Designer for Umbra Ltd. Prior to working for Umbra, she completed a BFA majoring in Jewellery Design and Metalsmithing at NSCAD University in 2014. By combining traditional and contemporary craft and design processes and materials, Dumrath strives to create dynamic objects for the home that are both functional and aesthetically enhancing. She believes her objects should improve everyday life, not only through adorning one’s surroundings, but also through an experiential quality.
Wind-up Lamp takes reference from a classic toy with a key, which, when turned, triggers animation. This playful inspiration brings a sense of character to the lamp, which possesses the ability to summon life through motion, as the key acts as a switch and dimmer. As if you were winding up a toy to run in circles forever, or just have it waddle a few steps; the lamp can wind-up bright to complete functional tasks or wind-down dim to create a restful atmosphere.
Oscar Kwong likes to examine the youthful yet meditative qualities of our daily life, and attempts to translate these feelings through the expression of everyday objects. He is currently an Artist-in-Residence at Harbourfront Centre and is trying to define a brand under Shu-Hao.
For Everyday Lighting, I wanted to take a look at the lights that we see everyday out and about in the city. Growing up I was always looking up at the night sky to see the stars but in the city whenever I look up all I see are the streetlights shinning back at me. So, I decided to incorporate those streetlights into my table lamp design, using them as means of diffusing the light rather than emitting it.
– Becky Lauzon
Becky Lauzon is a glass artist and engraver, currently based in Toronto. Born and raised in Cochrane, a small town in Northern Ontario, she takes Inspiration from the urban landscape and its juxtaposition with the natural world. Lauzon has been an Artist-in-Residence at Harbourfront Center since 2014.
What came first? The glass or the cord? Here in these pendants, hand-blown glass has the appearance of being formed by the cord that illuminates it. Each piece in this series exudes its own unique energy and ingenuity. The wire transcends its purpose to power the light, becoming a feature and means of containment for the glass. The glass transcends its origins in the furnace, appearing to succumb to pushes and pulls of cord. The pendants look mold-formed and hand-blown because each technique is incorporated in its own way. This blend of techniques transcends material, medium, and the process of making. There’s even mystery as to how the glass is held on the cord, because hidden inside each pendant is a custom designed 3D printed harp that suspends the glass over the LED lamp.
Kristian Spreen recently graduated from the Craft and Design Program at Sheridan College. Prior to pursuing an artistic career, she received an Honours Bachelor of Science from the University of Toronto, where she studied psychology, biology, and physiology. Spreen has always been enthusiastic about new experiences. This drives her to look for different ways of working with glass. By using a combination of organic and geometric elements she makes work that achieves a balance between controlled and spontaneous expression. Her work reflects tendency to look for solutions in situations involving seemingly opposing elements. Spreen has been an Artist-in-Residence at Harbourfront Centre since 2014.
The Ore Pendant Lights are my first exploration into lighting. These prototypes are intended to reflect and refract light – to play with both the luminosity of the objects and the variety of ways the shadows can cast into the surrounding environment. I used a combination of hot and cold glass-forming methods to create rock-like forms representing ores, rock matter containing valuable minerals.
I humours the human fascination of shiny, twinkling things, and the continuous chase for more.
– Silvia Taylor
“Your breath comes short and quick, you are feverish with excitement; the dinner-bell may ring its clapper off, you pay no attention; friends may die, weddings transpire, houses burn down, they are nothing to you; you sweat and dig and delve with a frantic interest—and all at once you strike it! Up comes a spadeful of earth and quartz that is all lovely with soiled lumps and leaves and sprays of gold. Sometimes.”
Silvia Taylor has been working with glass since she was seventeen years old. After graduating from Sheridan College in 2011, she worked as a teacher’s assistant at Sheridan and became a resident at Blown Away Glass Studio. Taylor has been a grateful recipient of several bursaries and awards from the Glass Art Association of Canada and Craft Ontario. She has participated in a number of shows and gallery exhibitions over the past five years, including The Artist Project, The One of A Kind Show, and The Toronto Outdoor Art Exhibition. Currently, Taylor is Secretary on the board of the Glass Art Association of Canada. She has been an Artist-In-Residence at Harbourfront Centre since 2013.
I start the making process by combining contemporary Western approaches (trying to work towards innovation and originality) with the influence of Chinese traditions in ceramics (a high level of respect for historical forms and using repetition and technique to reach the ideals of “quality” and “beauty”).
One of the core concepts of my studio practice is the use of pottery techniques to inform the design process. I treat molds as a method of exploring and generating new forms. Molds, for me, are not about mass production. My process is inefficient yet flexible in several ways. By shaping the objects by hand, each piece is unique. The details I leave on each piece allow the user insight into the making of the object.
– Cheng’Ou Yu
Cheng’Ou Yu received a BA in Ceramics Design from Jingdezhen Ceramic Institute in 2012. He continued to study ceramics at Sheridan College from 2013-2015. He has been an Artist-in-Residence at Harbourfront Centre since 2015.