Audax 8

Featuring the work of the 2021 Graduates in Ceramics, Bachelor of Craft and Design Program, Sheridan College

By Gardiner Museum

Sheridan Graduating Class 2021 (2021) by Sheridan CollegeGardiner Museum

Meet the next generation of ceramic artists

The Gardiner Museum’s partnership with the Ceramics Program at Sheridan College is longstanding. Each year, the Museum presents an exhibition featuring the work of the graduating cohort. For the students, this celebratory exhibition is the culminating point of many years of hard work. Given the pandemic, we are presenting a virtual version of this display so that everyone can enjoy the work of this promising group of emerging ceramic artists - Dr. Karine Tsoumis, Senior Curator, Gardiner Museum  

Creating in Process (2021) by Kristina Chetcuti (American, b.1996)Gardiner Museum

Audax 8

Latin for brave, daring and bold; a fitting title for the 2021 graduating class of Sheridan College Bachelor of Craft and Design program. During their time at Sheridan, this group faced challenges from the difficult (the province-wide faculty strike in 2017), to the earth shaking (the global pandemic of 2020-21). These two events book-ended their time as students, but they did not take away from their growth and development as artists and makers. As a group they emerge here, a tough and resilient class, the Audax 8 - Laura Kukkee, Professor and Studio Head, Ceramics Craft & Design and the 2021 Graduating Class

Chatty Forest Chatty Forest (2021) by Asli Inan (Turkey, b.1997)Gardiner Museum

Asli Inan

My work draws people into a playful, colourful narrative. Since childhood, I have always been drawn to colour and colouring books, and this feeling is reflected in my work now. My greatest source of inspiration for the motifs I use to decorate my work comes from Iznik ceramics made in Turkey from the 15th to the 17th centuries. Iznik motifs are fascinating to me due to their inclusion of fun and goofy animal motifs, characters that remind me of the old colouring books I loved from my childhood. Using coil building as an intuitive making process, I am continually exploring the potential of the vessel as a format. I am making pieces that represent me: a collection of dynamic colour, lovable characters, and curious forms.

Chatty Forest, 2021

Listen to Me (2021) by Asli Inan (Turkey, b.1997)Gardiner Museum

Listen to Me, 2021

Hold me (2021) by Karla Rivera (Canadian, b.1976)Gardiner Museum

Karla Rivera

In my work, I take a path in search of my inner being. Self-knowledge is a fundamental aspect of my path as an artist. With the help of clay, the use of different materials, and composition, I am building a bridge between beliefs, thoughts, and experiences. With my sculptures, I materialize a new form from the use of components that by themselves would not have a meaning. After reconstructing them, they become something of their own. Through these sculptural alterations, I hope to suggest that although our perspectives may be the same there is always space for the unidentified. With this, we can open a conversation about our own assumptions, and initiate dialogues that we would not have otherwise.

Hold Me, 2021

My narrow mind (2021) by Karla Rivera (Canadian, b.1976)Gardiner Museum

My narrow mind, 2021

Belongings (2021) by Karla Rivera (Canadian, b.1976)Gardiner Museum

Belongings, 2021

Siesta Time (after RGM) Siesta Time (after RGM) (2020-2021) by Kristina Chetcuti (American, b.1996)Gardiner Museum

Kristina Chetcuti

My love of the kitchen awakened my appreciation of clay. Cooking and ceramics share a common heritage. They evolved together through preparation, serving, and sharing, influenced by culture, family, and tradition. Many elements of Michigan, Ontario, and Malta inspire my work, from the colours of their landscape and seasons, to their agricultural practices, gastronomy, and cuisine. I believe in the importance of surrounding oneself with objects that nurture and promote beauty and reflection. My work celebrates the traditions and the generous heart of kitchens, the table, and the breaking of bread. Through my work, I hope to expand the philosophy of farm-to-table to become, farm, studio, and table, confirming that the makers, growers, and community are all part of one movement. 

Siesta Time (after RGM), 2020-2021

Salt to Taste (2021) by Kristina Chetcuti (American, b.1996)Gardiner Museum

Salt to Taste, 2021

The Aromatherapy Collection 1 (2021) by Mimi He (Canadian, b.1998)Gardiner Museum

Mimi He

My work invites the viewer into its quiet presence. I aim for a sense of minimalist design. I achieve the quietest forms through slip casting, a process that requires time and patience. My pieces are cast exceptionally thin and light, using porcelain to emphasize a feeling of intense fragility. I seek to develop work that speaks both as a single form and in a group setting. I highlight the porcelain through subtle glazes, achieving a sense of elegant, clean silhouettes when multiple pieces unite. Through elegant forms, subtle surfaces, and fine construction, I create a peaceful, meditative experience that can slow down time in our fast-paced existence.

The Aromatherapy Collection 1, 2021

The Aromatherapy Collection 2 (2021) by Mimi He (Canadian, b.1998)Gardiner Museum

The Aromatherapy Collection 2, 2021

The Aromatherapy Collection 2 (2021) by Mimi He (Canadian, b.1998)Gardiner Museum

The Aromatherapy Collection 2, 2021

Strangers on the Shore Strangers on the Shore (2021) by Pippa Samsworth (Canadian, b.1997)Gardiner Museum

Pippa Samsworth

I cherish the complex entanglement of emotions in memories, acknowledging the weight they carry whilst preserving their integrity. Time passes, life changes, and memories fade. Clay has become my way to document and preserve specific moments in time, forever frozen, untouched. My work plays with themes of nostalgia, place, family, nature, and storytelling through sweet and poignant ceramic objects, sculptural and functional. Though personal, my work invites you to peer within your own nostalgic memories and experiences. I think there is something very powerful in being sentimental. It encourages a tenderness that is often hidden deep within us; accessing the bittersweet twang of time, honouring precious moments of togetherness and solitude.

Oakville Harbour (2021) by Pippa Samsworth (Canadian, b.1997)Gardiner Museum

Oakville Harbour, 2021

Strangers on the Shore Strangers on the Shore (2021) by Pippa Samsworth (Canadian, b.1997)Gardiner Museum

Strangers on the Shore, 2021

At Least we Have NetFlix (2021) by Rob D'Orante (b.1974)Gardiner Museum

Rob D'Orante

This body of work takes a critical view of social and cultural issues. Using 18th-century porcelain garnitures as a point of departure, this work speaks of exclusion, alienation, isolation, and loneliness by subverting form and material and subjecting the pieces to contamination. Given the aristocratic connotations of the historical objects, they become a perfect foil to explore the current state of inequality in our current society. At times taking the form of a memorial to a pot or a limp and dejected body, exhausted and collapsed, my pieces move beyond classical garnitures. By combining traditional and non-traditional ceramic treatments, they become silly, vulgar, humorous and introspective: a visual diary of our current time.

At Least we Have NetFlix, 2021

Without you I'm Nothing (2021) by Rob D'Orante (b.1974)Gardiner Museum

Without you I'm Nothing, 2021

There Are Two Sides (2021) by Rob D'Orante (b.1974)Gardiner Museum

There Are Two Sides, 2021

Bloom Bloom (2021) by Sarrah Han (Canadian, b.1997)Gardiner Museum

Sarrah Han

Heightened feelings of vulnerability and fear inspire my work. I explore the ideas of growth in nature, colour as a metaphor for emotions, and how I can express deeper, more personal feelings visually. In this body of work, I dig deeply into my own experience, exploring forms that can express the conflicting sides of a person. Like most people, I am constantly changing. I express facets of my personality as a range of colours, fading, brightening, crystalizing, and persisting. Pushing against the boundaries of clay and taking risks within the process mirrors moments when I had to push myself to stay strong when I felt like crumbling. The transformative nature of contemplating this tension within myself ultimately allows me to grow.  

Bloom, 2021

Bloom (Side View) (2021) by Sarrah Han (Canadian, b.1997)Gardiner Museum

Bloom (Side View), 2021

Teapot with Stand (2021) by Taylor Goldsbrough (Canadian, b.1995)Gardiner Museum

Taylor Goldsbrough

I want my work to have a voice. Clay tells the story of how this hard, fired material was once soft. My work focuses on quickly made, deeply textured gestural forms. I intentionally leave pieces of trimmings, rough edges, and the evidence of construction. I preserve the memory of the once soft squishy clay; I leave behind the trace of my hand. All of my pots are fired in atmospheric kilns using wood, salt, and soda. Giving up control of the firing by firing in atmospheric kilns expands the potential of the surface of my work; it requires patience, and it is labour-intensive. I put so much time and effort into the making of my pots, why not have that same effort put into my firing?

Teapot with Stand, 2021

Teapot with Stand and Cups (2021) by Taylor Goldsbrough (Canadian, b.1995)Gardiner Museum

Teapot with Stand and Cups, 2021

Jar (2021) by Taylor Goldsbrough (Canadian, b.1995)Gardiner Museum

Jar, 2021

Partnership Logos (2021) by Gardiner MuseumGardiner Museum

Credits: Story

Gardiner Museum Staff:
Dr. Karine Tsoumis, Senior Curator
Christina MacDonald, Collections Manager

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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