Untitled 49


2 x 2.75 inches

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Untitled 34

Unknown Potter

Drahanchuk, Ed

Ed Drahanchuk , 1938 –

Ceramic, 8 x 4 inches

“Drahanchuk was oriented to an honest expression of the natural world. He used glazes as ‘accents to good design only where function demands.” Whether making a studio piece or a commissioned mural, Drahanchuk imbued his work with a distinctive surface energy and muscularlity, hallmarks that make it instantly recognizable. He worked in stoneware and experimented with relief decoration and wax emulsion, which provided a fine sensitive line in his work.

Ed Drahanchuk ran a successful independent studio practice (Design Associates, est. 1963) in cooperation with his wife, Ethel, and architectural sculptor Bob Oldrich. They began the studio in Calgary, moved to Bragg Creek and then in 1975 moved to British Columbia. The studio is still in operation. Over the years the Studio benefitted from involvement with Government sponsored trade shows in various parts of the world, which led to purchases from Canadian embassies and government buildings as well as ceramic orders from Europe and Japan. In 1974 Drahanchuk received the “Canadian Design of Merit Citation, Craft Award” from the National Design Council.”

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From http://www.willockandsaxgallery.com/artists/drahanchuk.php#../images/De1970a.jpg


Untitled 34b


Untitled 32

Dexter, Walter

Dexter, Walter

Walter Dexter
Pottery, 4.5 x 6 inches

“WHILE HE IS ONE OF CANADA’S MOST ACCOMPLISHED potters and ceramic sculptors, Walter Dexter is less well known among ceramists, artists and the public outside of this country. Walter Dexter discovered pottery at the Institute or, perhaps more accurately, clay and glaze were more or less thrust upon him by Luke Lindoe, one of his instructors.  Unsatisfied with his progress in his second year of study and questioning his commercial art ambitions, Dexter considered withdrawing from school. Lindoe suggested that he try pottery. Dexter had already attended drawing and painting courses under Lindoe and he had taken Lindoe’s course in figure modeling. Apparently Lindoe had noticed that his student had a nascent empathy for clay. Dexter completed his studies in 1954 as a fine arts student majoring in ceramic art. Lindoe remained Dexter’s most influential artistic mentor for many years.
Beginning in 1956, Dexter spent about two years making utilitarian objects in Luke Lindoe s studio, Ceramic Arts, in Calgary. Following this period he also worked as a manager and designer for Medalta Ceramics in Medicine Hat, Alberta. Eventually he left in frustration because none of his designs was used. He continued to be influenced by his former instructor, then his employer; under Lindoe’s guidance he learned production throwing techniques and he absorbed the discipline of hours of exact production work. He learned to work as a craftsman and these habits gave him the foundation to become an artist. Though an employee rather than a collaborator, he was already a natural experimenter. With Lindoe s permission, he engaged in endless weekend experiments. As he describes it, he tried everything. Between about 1960 and 1974, Dexter taught pottery, mostly part-time, at several colleges and universities in Western Canada. Between 1963 and 1967 he operated his own studio in Kelowna, British Columbia where his practice continued its division into two paths, production pottery (ashtrays even) and experimentation. But with a family to support, he could not earn enough money as an independent potter. Dexter’s art can be loosely divided into about five broad themes, though only two of these conform to specific periods. Probably influenced by Luke Lindoe s spectrum of interests and in loose chronological order, Dexter has made functional objects, nonfunctional decorated plates, figurative sculptures, Raku ware and his current ‘bottle’ sculptures and their variants.” from



Untitled 32b

Untitled 32c