Personal+Material Geographies:Craft at the Centre

Il Centro celebrates contemporary craft inpartnership with the Craft Council of BC

September 10–December 11, 2020

Table of Contents

Personal and Material Geographies, 2020Mary-Beth Laviolette, Guest Curator . . . . . . . . . . . . . . . . . 2

Creation and Community: It Takes a VillageAngela Clarke, PhD, Il Museo Curator . . . . . . . . . . . . . . . . . 6

Angelo Kalum Cavagnaro . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Veronica Danes Waechter . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Amy Gogarty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Barbara Heller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Debbie Katz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Kun K_ayangas Marlene Liddle . . . . . . . . . . . . . . . . . . . . 20

Lou Lynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Bettina Matzkuhn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Danielle J. Morsette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Meghann O’Brien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

annie ross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Katherine Russell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Michelle Sirois Silver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Debra Sloan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Debra Sparrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Charleen Stroud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Melanie Thompson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Catherine Thomson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Monika Urbaniak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Nancy Walker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Ocean Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Kari Woo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Christi York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Creation and Community:It Takes a Village

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Mary-Beth Laviolette, Guest Curator

In 2020, what does it mean to have a craft practice in Canada’s western-

most province? As an exhibition, Personal + Material Geographies (PMG)

offers a rich and varied reply. A response that in “Craft Year 2020” can

be seen and sensed through the 27 works on display.

Featuring the imaginative labours of twenty-three artists – sixteen juried and six

invited – PMG set out to focus on a different kind of geography. Rather than BC’s vast

and varied physical being, the Craft Council of BC (CCBC) challenged craftspeople to

consider “personal geographies that include different backgrounds and ways of work-

ing.” Or, what in this unique partnership between the Council and the Italian Cultural

Centre of Vancouver, described as craft practices which “reference community traditions

and history, placing it in opposition to Fine Art which values individualism.”

This emphasis on the gifts of community, whether racial, ethnic, activist or discipline-

related (e.g., ceramics, tapestry and basketmaking), seem all the more pertinent given

the dramatic disruptions of the 2020 Covid 19 epidemic. Examples of the sustaining power

of community are reflected throughout PMG.

There is Meghann O’Brien’s use of Chilkat weaving – one of the world’s most complex

weaving techniques – to create two pendants. Rather than the customary Chilkat blanket

or robe, these are small-scale works but still able to be worn. They also incorporate the

formlines of Northwest Coast design (i.e., the ovoid shape) as well as wool stiffened

with thinly shredded yellow cedar bark strips. In one hanging pendant the salmon berry

is honoured as a welcomed food source for bears and humans. “They are quiet spirits

who do not yell for our attention (O’Brien).”

In a similar vein, there is also Kari Woo’s hanging neck piece, Mater/Matter (2020)

which, with its use of family pictures and other found materials like jade and birch bark

allude to the staying power of family and culture in the long, long story of Chinese

migration. This includes the multi-generational Woo family who are poignantly repre-

sented in the pendant’s heart-shaped format.

Community of a different type also exists for those nurtured by their chosen discipline

and its own particular histories and stories. For textile artist, Barbara Heller, the prac-

tice of tapestry is linked though Moira (2018) with the Greek mythological story of the

powerful Moirai sisters. They, who, for both the gods and humankind, symbolised Fate

Personal and MaterialGeographies, 2020

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and Destiny – beginning with “Clotho who spun the thread of life from her distaff to

her spindle (Heller).”

In the field of Northwest Coast sculpture, the mentorship of master carver, Dempsey

Bob, supported the creation of Veronica Rose Dane Waechter’s The Best Berries are

on Top of the Mountain (2019). Connecting, above all, this distinctive practice to the

importance of Indigenous people’s oral traditions with a reminder to the younger artist

to nonetheless express through carving the stories of her own time.

The art of basketry is another strong theme in PMG. With contributions from Christi

York, Melanie Thompson and Haida Gwaii’s Marlene Liddle – who has already over 240

cedar containers to her credit – evoked by these crafters is basketmaking’s “communal

history in nearly every culture on the planet (York).” In looped copper wire and vintage

sequins and cane there is Thompson’s recent interpretation of the traditional fish trap;

York’s more sculptural treatment with twigs and a single copper ‘vein’ and, Liddle’s

contemporary clam basket with its tell-tale cedar knot paying respect to this iconic

tree species.

Another communal sentiment present in the exhibition is a palpable concern for the

environment. This was expressed in many different media. It’s present in the bold

ceramics of Amy Gogarty’s Container/Ship with its symbolic litter as well as Nancy

Walker’s whimsical expression of Lifeboat ~ Hope (2019). In her whiter-than-white

porcelain lifeboat, the artist attached small handbuilt figures and animals: once

inhabitants of “a giving yet struggling planet (Walker).” Debbie Katz connects to the

theme with her felted sculpture of spawning fish in Salmon Run (2019) while Christianity’s

Cruxifix (2019) is employed by backcountry rambler and textile artist, Bettina Matzkuhn.

Represented on the large-scale cross of painted fabric and embroidery is a summer-

time mountainscape with a dwindling glacier.

Recycling or repurposing also stands out. Some very fine examples of this ethos are

seen in the Scottish lacework veil of Catherine Thomson who, influenced by the natural

environment around her explored new fibres and new designs. In Serenity (2018), this

was accomplished with Tencel, a wood fibre certified as compostable and biodegrad-

able. For Precious Commodity (2016), Michelle Sirois Silver relied on recycled waste

hosiery to hand hook the final piece in the artist’s the Recovery Method series.

But nothing speaks more assertively about the environment, and, as it happens,

British Columbia than the broken-faced bear rug resurrected by annie ross. Obtained

from a thrift store, ross embellished the animal’s red felted underside with embroidered

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birds and animals, appliqué, sequins, glass beads and buttons recalling Indigenous

button blankets. The result is a lush cosmos of coastal life in put back together all we

have broken apart (2020).

This work, along with other allegiances to not just the environment but to a sense of

place – however it is manifested – makes ‘crafting’ in 2020 very different in sensibility

from the concurrent survey of mid-century craft and design in BC, 1945 to 1975, on view

at the Vancouver Art Gallery. It may be a stretch to compare an exhibition with a modest

27 works to Modern in the Making. The latter comprising over 300 objects and other

items related to architecture and industrial design but the word Modernism is not one

that comes to mind in relation to Personal + Material Geographies.

There is little purity or simplicity to be found in

PMG and the avant-garde emphasis on new

and ground-breaking is nowhere to be seen.

As for Progress – where did it go? Artists, it

appears, like those on display at the Italian Centre are preoccupied with other concerns

both formally and conceptually. It’s less reductive, less ordered and prescriptive.

Overall, things get mixed-up, blended, hybridized and infused with an enthusiastic

cacophony of different opinions. In addition, these are artists who happen to value

history and tradition without apology. Thus, Lou Lynn’s homage to her garden shed

with its 17 ordinary and specialized shovels. It became a site of inspiration for recon-

ceptualizing a common everyday tool into life-size bronze/glass/steel objects for

“imagined tasks (Lynn).” Viewed in the context of Personal + Material Geographies

and its 23 creative contributors, the field as they say is wide-open.

Personal + Material Geographies: Il Centro celebrates contemporary craft in partner-

ship with the Craft Council of BC is on view at the Italian Cultural Centre of Vancouver

until December 11, 2020.

Modern in the Making: Post-War Craft and Design in British Columbia is on view at the

Vancouver Art Gallery until January 3, 2021.

Mary-Beth Laviolette, August 2020

Overall, things get mixed-up, blended,

hybridized and infused with an enthusiastic

cacophony of different opinions.

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Mary-Beth Laviolette is an independent curator and art writer based in Canmore,

Alberta.

In the last decade, she has contributed to or curated exhibitions including craft for

Glenbow Museum (Calgary), Art Gallery of Alberta (Edmonton), Okotoks Art Gallery, The

Esplanade Gallery (Medicine Hat) and the Whyte Museum of the Canadian Rockies (Banff).

In 2017, Mary-Beth curated a major exhibition, Eye of the Needle: Beading, Embroidery

& Needlework at the Glenbow Museum. The contents of this major exhibition included

historic material from the museum’s Cultural History Collection and recent work from

artists in craft. In addition, her most recent project involved the curation of fine craft

commissions for a new multipurpose centre in Calgary housing homeless single women.

Fourteen artists working in fibre and indigenous beading received commissions and

nearly sixty works were created for the newly opened YW Hub Facility in the city’s old-

est neighborhood, Inglewood. She has been on the board of the Alberta Craft Council

since 2009.

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Angela Clarke, PhD, Curator, Il Museo Gallery

The Sanctity of Communal Creation

In his book the Three Books of the Potters Art the writer Cipriano Piccolpasso (1524–

1579) describes in detail the painstaking workmanship involved in creating the hand

crafted pottery intrinsic to the cultural and economic life of Central Italy c. 1500–1550.

He notes that there was a reverence and even a sanctity involved in the act of creating

this ceramic artform. First, it involved an entire team to shape the clay, formulate the

glazes and even more so to execute the successful firing of the ceramics. Each partici-

pant monitored the elements throughout every stage of production to a meticulous

degree. The formulation of the polychrome glazes alone was elevated to the level of

a mystical knowledge. The recipe for these famous glazes Piccolpasso declared, was

so hallowed that it was a closely guarded community secret only to be revealed to the

next generation as a deathbed confession delivered by the master.1

Throughout Italy from the 16TH century until the 19TH, towns arose devoted entirely

to the production of a single craft. Towns such as Deruta, Gubbio and Castel Durante

in Central Italy created Italian maiolica ceramics, Murano near Venice created glass,

across the water in nearby Burano, laces were created. In Venice opulent damask

textiles were woven. It took the inhabitants of an entire village to create these refined

crafts. First, each village possessed the rich resources such as clays and sand which

became the raw materials fundamental to creating this art form. In Burano, a fishing

village, women repaired their husbands fishing nets at the end of the season, giving

rise to refined patterns for lace. In these small villages fellow craftspeople could pool

resources, sharing the costs of production. Italian archives dating from the 16TH century

describe in detail the individual contributions of each community member in the process

of production. There was a shared knowledge, each person in the town was designated

with a specific specialty deemed fundamental to the act of creation. Each contributor

jealously guarded their particular knowledge and expertise.

The cornerstone to this community-based process of creation also ensured quality

control. Documents in the Deruta archive reveal that in the 16TH century when the

production of ceramic quality began to decline, master craftsmen met as a tribunal in

the local church to discuss the maintenance of creative achievement. Those who failed

to reach the proscribed level were removed from the process of production.2

Creation and Community:It Takes a Village

1 Cipriano Picolpasso, I tre libri dell’arte del vasaio, A. Caiger-Smith and Ronald Lightbown (eds.), 2 vols (London, 1980).

2 Archivio di Stato di Perugia, prot. 671, cc. 650r–651v. It is also published as: ‘Un’Assemblea Generaledei Vasai,’ in Ugolini Nicolini (ed.), Il Paese Dell’Arte Civile: Scritti sulla Storia di Deruta e dellaCeramica Derutese (Perugia: Gramma, 1997), pp. 34–38.

Industrialization and the Decline in Object Quality

For William Morris (1834–1896), activist in the Arts and

Crafts Movement in the 19TH century, the Renaissance

mode of craft production was a venerable model; one

which admired the attachment of the creator to land and

community. For Morris, the sacrosanct and guarded

secrets of production and the communal nature of

creation fulfilled a fundamental social role allowing all members of society to participate

and play a significant role in the act of creation. In his day the production of hand

crafted goods such as pottery and glass was the antithesis of production in the Italian

Renaissance. In fact, Morris noted that the industrial revolution mode of production

removed people from their communities forcing them to become anonymous dwellers

and factory workers in the big city. Training for factory production was minimal and

impersonal. No level of mastery was required of a factory worker in this process. Workers

were trained in small, very limited skill sets underscoring an overriding message that

they were, ultimately, replaceable in the process of production. The worker was not

a fundamental facilitator in the creative process—and certainly not a catalyst in the

act of creation.3

Arising simultaneously to the industrialization of Europe, Rozika Parker and Grizelda

Pollock have noted, was the concept of the lone artist genius. No longer the product

of his geography and community, the individual creator became the new epic hero.

The identity of the artist was seen as the single unit in the act of creation: the sole

author, sole identity. He, archetypally a male member of the elite, was hailed as

a unique phenomenon, having the capacity to embody the zeitgeist of his age; a pio-

neer forging the future with his inspired vision. His signature encrypted into his work

embodied, even demarcating, the status of the object and market value. This was a far cry

from the artisans of the Renaissance who did not sign their work individually but whose

potters’ mark signaled community identity. Prior to the enlightenment an artist was

defined as someone who displayed taste, this could include a craftsperson, artisan or

someone who appreciated quality and workmanship. Following the rise of the artist-

genius the painter, or sculptor gained cultural ascendancy, making way for the cult

of celebrity.4

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3 William Morris, “The Arts and Crafts Today: An address delivered in Edinburgh before the NationalAssociation for the Advancement of Art in October, 1889,” in I. Frank (ed.), The Theory of DecorativeArt: An Anthology of European and American Writings 1750–1940 (New Haven: Yale University Press,2000), p. 62–7.

4 Grizelda Pollock and Rozika Parker, “God’s Little Artist,” Old Mistresses: Women, Art and Ideology,(New York: I.B. Tauris and Co. Ltd.: reprint 2013), 83–113.

…the Renaissance mode of craft

production was a venerable model;

one which admired the attachment of

the creator to land and community.

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The Separation of Artist from His Community:the “Great Man Theory”

Separating the realms of the artist and craftsperson perpetuated the prevailing 19TH

century notion that the artist was a unique genius and set apart from the rest of

society. His work was perceived as a social force setting the tone of his age and he

was not seen as part of a process evolving out of a larger community which informed,

supported and gave rise to his creative work. This “great man theory” did not leave

any role for “the other.” Creation became synonymous with the single individual

characterized by his unique, deemed superior, abilities.5

It is this regard for the singular genius of a few individuals in the 19th century that

characterized the political and social ethos. It legitimized and justified the enclosures

of communities, enforcing the inhabitants of once thriving villages to move to the city

becoming anonymous factory workers and labourers. It began the process of mass

production, and the move toward social homogeneity.

The industrialization of material culture objects brought about a dehumanization and

even degradation of the poor and disenfranchised. These developments would further

bring about a decline and destruction in the colonies and empires of industrial Europe.

The art and culture of many First Nations people in the face of European de-human-

ization was greatly impacted. However, attitudes regarding decolonization today has

sparked a growing assertiveness and power among First Nations communities. First

Nations artists, in connection with their communities, are maintaining their traditions

ensuring they survive and thrive and remain sustaining to their people in the future.6

In present day, the reconciliation movement recognizes how fundamental this process of

cultural transmission is to the well-being of society. It advocates for creative production

as an integral part of a community and its people who reside within it. It acknowledges

the transmission of creative knowledge as a powerful force that must be preserved for

society and culture to thrive and grow in the future.7

This exhibition Personal and Material Geographies: Craft at the Cultural Centre

celebrates the degree to which geography, community and its history and values are

inextricably linked. It acknowledges that the craft practices of BC have parallel and

intersecting traditions including those that are European, Asian and First Nations.

5 Thomas Carlyle, “The Hero as Divinity” in: Heroes and Hero-Worship (1840).

6 Cheryle Partridge,“Residential Schools and the Intergenerational Impact on Aboriginal Peoples,”Native Social Work Journal, 7 (Nov. 2010), p. 42

7 Truth and Reconciliation Commission of Canada, p. 13; The United Nations Declaration on the Rightsof indigenous people, Article 8.1–8.2, 9, 11–15, 31. 1.2.

All artistic genres, and the environments which gave

rise to them, have had a powerful impact on the aes-

thetics and creative knowledge of this province. The 23

artists in this exhibition are working within their own

personal and cultural creative communities and each

object in the exhibition conveys a wealth of oral knowl-

edge, personal stories and time-honoured techniques

which have been transmitted through their teachers, elders, family and society members.

Some aspects of creation offer up important lessons and others, like the Deruta potters,

are so sacrosanct they are beyond our power to share, we can only admire and be in awe

of their capacity for creation.

I would like to take this opportunity to thank all artists: Angelo Cavagnaro, Veronica

Danes Waechter, Amy Gogarty, Barbara Heller, Debbie Katz, Marlene Liddle, Lou Lynn,

Bettina Matzkuhn, Danielle Morsette, Meghann O’Brien, annie ross, Katherine Russell,

Michelle Sirois Silver, Debra Sloan, Debra Sparrow, Charleen Stroud, Melanie Thompson,

Catherine Thomson, Monika Urbaniak, Nancy Walker, Ocean Wilson, Kari Woo, Christi York.

In addition, I would like to thank Guest Curator, Mary-Beth Laviolette, and Director of

the Craft Council, Raine Mckay for their involvement in this important exhibition and the

first of its kind at the Italian Cultural Centre. I would also like to thank Linda Coe, Debra

Sparrow and Pam Brown for their guidance and insight throughout the exhibition’s

development.

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This exhibition Personal and Material

Geographies: Craft at the Cultural

Centre celebrates the degree to which

geography, community and its history

and values are inextricably linked.

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(Nisga’a/Italian)

The hawk symbolizes the sky realm, “world with no ceilings” and conveys motifs of

teacher and student. Much of my own skills in carving began from my teachers at

the Freda Diesing School of Northwest Coast Art, and has continued to grow with each

interaction I have had with other artists, beings, and places since then. Many of our

teachings originate from land and water, they are our greatest mentors in a way. This

mask is a reflection of my journeys on a helicopter, seeing the Nisga’a and Tlingit terri-

tories from a different perspective made me realize that people are at the mercy of the

spirit of water. During one trip above, I actually witnessed the land take a full breath,

and it changed how I view our world. I am happy that I am able to share these memories

in sculptural forms.

Angelo Kalum Cavagnaro(Nisga’a/Italian)

HAWKMAN & SONS, 2019Alder, acrylic paint, red cedar bark, buck tail17 x 10 x 7.5 in (43.18 x 25.4 x 19.05 cm)

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The northwest coast is home to some of the most beautiful mountain ranges, they

tower over the green valleys and are split up by the rushing rivers. Many people who

live in this area have their favorite berry picking spots, and some will even climb

tremendous heights to have a chance at tasting the sweetest mountain-fresh berries.

The Best Berries are on Top of the Mountain sculpture is the artist’s reflection on their

own experience hiking for 8+ hours for the perfect berries. During these journeys on

the land, we often see different animals who, during times of exhaustion, we can

imagine as spirit helpers. In this sculpture, the helper is the Eagle, who lends strength

to the human figure so that they can reach the top where the berries are. The nest is

a protective layer made of cedar bark, which reminds us of the deep connection we

share with all creatures through the feelings of family and home. This sculpture is

reminiscent of summer sweets, high altitudes, sore muscles, family time, and is an

appreciation for all kinds of spiritual motivators.

Master carver Dempsey Bob is my mentor and helped me greatly in the teachings and

beginnings of this work. Dempsey would remind me that the old carvings and weav-

ings told the stories of their time, and we need to keep telling our stories in our own

ways. When I work with cedar bark and carve wood I feel a connection to my Gitxsan

relations who have passed, as they too once worked with these materials to tell sto-

ries. It all goes back to living with the land and learning from it. These practices not

only kept our culture alive but allowed it to thrive, and each time we work with it or

speak our language, it gains some of its power back. Dempsey Bob has also been a

trailblazer for northwest coast art and artists; he has educated many people in the

arts sector about the depth of skill and knowledge it takes to create this type of work,

how much we have lost and the efforts it has taken to bring it back strong. Hamiyaa

Dempsey for all that you have done.

Veronica Danes Waechter(Gitxsan/Scottish/German)

THE BEST BERRIES ARE ON TOP OFTHE MOUNTAIN, 2019Alder, red cedar bark, acrylic paint20 x 16 x 5.5 in (50.8 x 40.64 x 13.97 cm)

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I come to ceramics from painting, which in part explains my attraction to the multiple,

complex surfaces that characterize ceramic materials and methods. Working in my

garden, travelling on foot or by bicycle, I encounter an urban landscape entangled with

nature. These everyday activities engender dense corporeal memories and provoke a

sensorial intimacy with the world, which I see as fragile and in constant danger of

assault. Despairing at our tendency to destroy, I take heart at our capacity for wonder.

My ceramic forms reflect the abundance of nature and the ever-present residue of

human activity, industry and commerce. I throw my forms, stretching, crushing, bending

and modelling the supple clay membrane to create objects, or to mimic the physical

effects of time and decay. My glazes correspond to surfaces found in the world.

Some of my methods are unorthodox, but I proceed slowly, committed to making things

by hand. Container/Ship is part of an on-going series that considers commercial waste—

pop bottles, beer cans, tooth-paste tubes, spray cans, personal products—the mountains

of stuff generated, circulated, used and discarded by consumer culture. Crushed

and abandoned like corpses, these abject objects provide melancholic witness to

our material life. I replicate and arrange them to confront my own complicity with

consumerism, to make visible aspects of consumption most often kept from sight.

Amy Gogarty

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CONTAINER/SHIP, 2019Mid-fire stoneware, glaze, high-fire soda,porcelain pieces assembled with metalbolts, rubber washers, etc.9.84 x 14.96 x 11.02 in (25 x 38 x 28 cm)

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This tapestry is a weaving which depicts in wool a Roman statue which depicts in stone

a woven cloth. I have added a wing to the statue which shelters the symbols of the three

fates. As a young child I was fascinated by the mythologies of various cultures. As a

teen I studied Latin in school and especially liked finding out how Greek and Latin words

permeate our language, enriching it with references to the old stories. As an adult and

a textile artist, that vocabulary became more resonant in my life. The Moirai were three

mythological Greek sisters who were the incarnation of fate and who controlled the

destiny of god and man. Clotho spun the thread of life from her distaff to her spindle,

Lachesis allotted and measured out the thread of each person’s life and Atropos cut

the thread of life with her shears, determining the hour and manner of one’s death.

Today we profess not to believe in fate, and instead we believe in free will and the right

of an individual to determine the shape and length of their life. Yet old legends still have

power and the idea of the three fates rests deeply in our psyches. We are superstitious,

we touch wood, we do not want to tempt fate. Textile metaphors are also deep in our

psyches and our language – spinning a yarn, weaving a story, sewing up loose threads,

and so on.

Tapestry is a slow meditative process imbued with spiritual energy. I bring my personal

and cultural history to the loom when I sit down to weave. Like my view of life, nothing

is completely predetermined; there is always a dialogue between the image in my mind

and the image evolving on the loom.

Barbara Heller

MOIRA, 2018Warp: linen, weft: handspun and commercialwools, mostly hand-dyed, perle cotton,rayon, metallics, other fibre60 x 39 in (152.4 x 99.06 cm)

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Salmon Run is a felted sculpture that was created for both visual and textural pleasure,

and with the intention to tell a story. The visual strength of a felted sculpture is far more

poignant and strong when a story is embedded within. The teachings that I continue to

gain from my felting mentors have made me understand that the completed felt piece is

also a connection to the earliest pieces of felt work made by nomadic tribes so long ago.

The school of salmon in this sculpture are beginning their final swim to spawn in the

headwaters of the rivers in which they were born. The arbutus log, which serves as

a base for Salmon Run, comes from a fallen arbutus tree, indigenous to the western

coastal edge of North America. Mounted on the arbutus base, the bright, orange colours

of the salmon’s felted bodies, worn and tattered in places, betray their struggle to

complete this life-cycle. Shadow techniques and silk nuno felts have been used as

embellishments on the salmon’s bodies; these techniques enhance the sense of

imperfection and disintegration of these fish as they make their final run to their

spawning grounds.This is a crucial time for the wild salmon of the western Pacific;

the Chinook and Coho that depend on the Fraser and Columbia River systems that

drain into the Salish Sea have experienced tenfold declines in survival during the marine

phase of their lifecycle.

My intention in creating Salmon Run is to initially capture the viewer’s attention and

by so doing, create an awareness of the threatened status of the Pacific salmon. The

beginning of any significant change must start with an awareness of the problem and

in this case, ecological crisis. Hopefully this awareness will contribute to the curiosity,

knowledge and pressure required to bring about real solutions for the salmon’s ultimate

survival in the Salish Sea.

Debbie Katz

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SALMON RUN, 2020Wet-felted Merino and Rombouillet wool,arbutus base16 x 54 x 12 in (40.64 x 137.16 x 30.48 cm)

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I began weaving in August of 2007 and have woven over 240 pieces to date. I weave using

traditional materials and techniques while also being innovative and contemporary by

introducing various modern materials resulting in a unique style that is easily identified

as my own. The “knot” in the basket is to pay respect to the cedar tree by using every

possible bit that is harvested. The form and the techniques are traditional, but slightly

modified to create texture and symmetry that is pleasing to the eye and in keeping with

Haida Traditional form line. The bark used to create this basket was harvested on Haida

Gwaii. Each tree is carefuly selected based on age, size, and straightness. Strips are

carefully removed so the tree is not harmed and will continue to grow. The outer bark is

removed in the forest and left at the base of the tree to rot and to provide nutrients to

the tree. The strips of bark are then split in half to create two layers out of each strip, then

bundled to cure for a year. Once I am ready to weave, I take several strips of bark and

soak them for an hour and then begin to process the bark for weaving. Preparation

to weave is lengthy (several days) and exacting but taking my time ensures a quality

product that is pleasing to the eye and honors my ancestors traditional ways of

harvesting, techniques, and materials.

Kun K_ayangas (Deep Diving Whale)Marlene LIDDLE (Haida Gwaii)

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CONTEMPORARY CLAM/SEAWEED BASKETRed and yellow cedar bark10 x 12 in (25.4 x 30.48 cm)

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The SHOVELS triptych has as a starting point, one of the most common tools. A quick

count in our garden sheds revealed an astounding 17 ordinary and specialized shovels

used to perform a variety of tasks.

“There is a tool for every task and a task for every tool”…or so they say.

My work is an exploration of the archaeology of daily life. It reflects an implied refer-

ence to familiar tools, utensils and functional objects, but leaves the question of

purpose hanging in the air. The sculptural qualities of hand tools hold a particular

fascination for me as I ponder their use and the esthetic decisions of their makers,

and then re-interpret design and scale, which results in objects that offer solutions for

imagined tasks.

I have focused on exploring form and materiality. The integration of glass and bronze

has provided a means to establish a dialogue between these two disparate materials

and explore the tension that exists between strength and fragility.

Creation and Community:It Takes a Village Lou Lynn, RCA

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SHOVEL 1, 2018Bronze, glass and steel42 x 9 x 19 in (106.68 x 22.86 x 48.26 cm)

SHOVEL 2, 2018Bronze, glass and steel38 x 8.5 x 18 in (81.28 x 21.59 x 45.72 cm)

SHOVEL 3, 2018Bronze, glass and steel38 x 8.5 x 19 in (81.28 x 21.59 x 48.26 cm)

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Fibre interests me as a versatile language of visual narrative. Textiles have a long

history of inscribing social and personal stories, my work is a part of this continuum.

The assorted threads and specific qualities of the textiles that I use in my work form

a vocabulary I have used since childhood.

Many years ago, I had an experience near a glacier that led me to perceive it as a sentient

being. A great slab of ice broke off the glacier’s toe, landing in the silty lake with a sound

I will never forget. Later, reading about Indigenous belief systems that hold all the

features of the earth as alive, I gained a new understanding of the natural world, and of

anguish. Scientific journals predict a massive loss of glaciers by the end of this century.

A hanging glacier is a natural feature where a glacier is suspended above a steep drop.

This can also be the result of a major glacier retreating, leaving remnants of ice dangling,

often in a form that evokes outstretched arms. What humans leave hanging, in the

Anthropocene epoch, is more than a field of ice and snow, it is the water supply for every

creature down river, the cold water for salmon to spawn, and the weather patterns we

are accustomed to and depend upon.

Glaciers live at different time scales from humans: eons instead of decades, centuries

instead of seasons. In mourning the loss of glaciers, I am aware of the disappearance

of beings that hold cultural and ecological importance, that hold an otherness I attempt

to appreciate.

Bettina MATZKUHN

CRUCIFIX, 2019Paint on linen, silk, rayon, cotton embroidery,satin lining70.8 x 43.3 in (180 x 110 cm)

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Danielle J. Morsette is a Salish weaver from the Stó:lō Nation and Suquamish Tribe.

She was born in Montana and grew up in Washington State, but moved to British

Columbia in 2010. She learned to weave in 2003. In 2012 Morsette was a recipient of

the YVR Art Foundation scholarship.

Danielle J. MORSETTE(Suquamish, Stó:l0-)

LADY OF HIGH RANK, 2016Coast Salish hand weaving with wool,rabbit fur, glass beads

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Chilkat weaving has such a strong spirit that it has inspired me to imagine how this work

can be used in our daily lives. While contemplating other ways that a pendant could be

made, I had the idea to warp the loom in a complete circle. This insight opened up other

ideas about how to play with the structural design of the weavings. Naaxiin has a tradition

of being worn, and it is appropriate that it still be used today by those who are supportive

of our culture. Pendants are a subtle innovation in Chilkat, expanding on how the weaving

is warped on the loom and the structure of the finished piece as a whole. Because I started

weaving with such a practical use in mind, I have been reimagining how to retain that element

in contemporary works made for sale.

Salmon Berry Ancestor Pendant The salmon berry is easy to overlook, but it’s value to

Northwest Coast societies as a historical food source shouldn’t be underestimated. They

are quiet spirits who do not yell for our attention. Salmon berries are closely related to bears,

as their life cycles are linked by the seasons. Salmon berry shoots are among the first foods

to arrive in the spring to be harvested, and are welcomed by bears and humans alike. In

June 2016, I spent many days picking berries, it brings me so much joy. When considering

what to weave, I had this vision of a small face that emerged with a personality and life of

its own. I have a long standing relationship with this plant, and it has been a privilege to

make visible what I know in my heart.

Meghann O’BRIEN(Haida/Kwakwaka’wakw/Irish)

SALMON BERRY ANCESTOR PENDANT, 2016Cashmere, Merino wool, yellow cedar barkPendant 2 x 2 in (5.08 x 5.08 cm)

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Bear, beloved. mis over

taken trophy, last chance remedy

desperate men

targeted, hunter murder scene dream

counterfeit rebirth as rug, elixir

i do not belong to you.

remember who we

are with or without these skins

Source, Power

no Earth without You

before someone said we were nothing

before guns

i have never been your trash

re-make, mind, spirit

re-sanctify, our many, inter-

dependent, miraculous lives

today reveals a

Love we did not cherish

Beings we did not Love

this change of worlds.

rare beauty, compatriot

right thought, right action, right

livelihood

mutually assured destruction, madness

ached, deliberate love

annie ross

put back together all we have broken apart, 2020tattered black bear rug from thrift store with brokenface, red wool, blue wool, leather, sinew, thread,embroidery floss, sequins, buttons, glass beads,pigment in epoxy, red cedar, abalone, crystal beads(all materials re-purposed)

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In my work I reference the land, the land of Gibb River Road in Northern Australia

and the land of Todd Hunter Ridge, just outside my home in the Rocky Mountains.

They are literal depictions of that land from hikes that are dear to me. They were

spaces that held me both physically and spiritually. I photographed this ground,

created images to burn onto a silkscreen, then using glass powder I printed the images

onto glass sheet, before firing the image on in the kiln. I then slumped these images into

a wide shallow bowl shape. This bowl shape is a visual depiction of what craft often

is, we are also held by what has come before us… others that have developed technique,

mastered the science behind the way these materials will perform, so that we don’t

need to. Our job is to push its boundaries, to continue to develop our media. We are

a small point on a long continuum of learning. I reflect on what has come before me

with gratitude, and with some responsibility challenge myself to carry more than

technique to the next generation of makers.

Katherine RUSSELL

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GIBB RIVER ROAD, 2019Kiln-formed glass, glass powders19 x 17 x in (48.26 x 43.18 x 10.16 cm)

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Materials matter. This is a lifelong practice and at heart I am a pack rat but I also ride

on the heels of a throw away culture and my materials pull me back to a considered

way of being.

I see value in discarded materials. I am inspired to reclaim and reuse them. What began

as a practice of thrift has evolved into urgent messaging underpinned by climate change

and consumption-driven waste. It is important to know where we came from, where we

are, and where we are going. My work engages in a push pull relationship where the

past informs the present and vice versa.    

My hand hooked designs may begin with a photograph or a paper collage which imply

a subject matter. At times I use specific shapes to create a visual narrative. I often

introduce elements to create order such as geometric patterns or directional lines.

Precious Commodity utilizes the rigid and dependable structure of a background made

up of many horizontal lines. In the foreground vessels are tipped into a vertical position

and misaligned. Small circles orbit the vessels while larger ones observe from a distance.

Precious Commodity is made with waste hosiery materials sourced from a clothing

designer and is part of a larger body of work titled the Recovery Method series.

Michelle SIROIS SILVER

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PRECIOUS COMMODITY(Recovery Method series, 2016)Hand hooked recycled waste hosiery, linen60 x 60 in (152.4 x 152.4 cm)

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In the Nagano prefecture in Japan, traditional sculptures representing a married couple,

are carved onto large stones, and found by roadsides. They are beloved deities called

Dosojins and their role is to act as guardians to travellers, both human and animal.

The protective role of these Dodojins contrasts from that of the parallel Western couple,

Adam and Eve—portraying paradise lost—and reveals one of the many interesting

sociological differences between East and West.

In Adam and Eve as Dosojins, the male and female figures are matched in scale, as

Dosojins are, leaves and apples are added, courtesy of Eden. The clay is from Shigaraki,

Japan, and the telephone wire retrieved from BC Tel. This crossover work is a commen-

tary on perceptions around the roles of women and men, as experienced in different

‘geographies.’

During the making process visual abstracts embedded from years of observing and

considering, float, unbidden, to my mind’s surface. I have to decide whether they con-

tain any veracity, and if so, fold them into the work. It is an instinctive process, and my

approach requires interactive material contact, and is driven by the desire to fabricate

singular works that contain a residue of our present time.

Debra SLOAN

ADAM AND EVE AS DOSOJINS, 2019Two modelled figures with sgrafitto on base:pink Shigaraki stoneware, embedded withiron, coloured slips, sgrafitto and telephonewire15.5 x 7.8 x 4.7 in (40 x 20 x 12 cm)

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Untitled/Covid-19

Throughout these challenging times when the world stood still, we are made to “STOP”

The streets are empty, the planes no longer fly. The waters are quiet: SILENCE

The world is silenced. Humanity’s ego has been humbled.

Our Mother, the Earth, the universe, takes a deep…deep breath, while ours is

threatened: by a tiny, tiny virus.

LOCK DOWN. Made to be still.

What do we do? where do we go?

—To my loom—

Weaving, connection, saving Grace

Spinning back through time—

Threads – Fibres – Medicines – Healing – Strength – Love – Family

Debra SPARROW(Musqueam)

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UNTITLEDWool; shaped blanket5 feet at tip, 3 feet at bottom(152.4 cm x 91.44 cm)

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Hannah-Seamstress, Basil-Stonemason: My Parents

Part of the greater Stroud and Joubert Families

How does one describe the impact, the power and the influence these people have had

on our lives? For some, this might be bad and leave one scarred for life. Something that

we would rather forget. For others, like myself, we are eternally grateful for all the pos-

itive things that this, generally stable family and household, has given us.

Creativity gets passed down through many generations, from parents to their children.

Even though both my parents were not practicing artists, they practiced full creative

lives, while at the same time working and caring for their family. I have memories of

my loving mother always sewing, knitting, crocheting, cooking, baking, gardening and

helping other people in every way that she possibly and humanly could. I have memories

of my very strict father, always building, welding and forever working in his fruit and

vegetable garden. This creativity and work ethic has been transferred to us three

daughters and we are constantly busy sewing, cooking, making ceramic pieces, making

jewellery, sculpting, drawing and always trying to help others.

As an immigrant to a new country, I arrived with ideas that I was going to flourish as an

artist; this idea was quickly squashed. Living in rural Canada is not easy for anybody

that is new to the country. I tried to express myself through the familiar medium of clay.

(I have a professional ceramics qualification). I enjoyed it but with lack of like-minded

people around I was floundering and eventually stopped creating altogether.

Having recently moved to Vancouver and with no way of firing my pieces at the time,

I attended a portrait embroidery workshop with Sue Stone at Maiwa. LOL. What did I

know of embroidery? I spent most of my time just winging it! I loved it!

These two pieces of my beloved parents are the first results of this journey. I continue to

work on others at the moment, while also doing my ceramics and weaving.

These two pieces are made from an old linen crocheted tablecloth that my mother made

in the 1950s. I loved it, but never used it. It just sat in my cupboard. I decided to cut it

into three pieces (horror of horrors) and have given it new life! At least now my mother’s

beautiful handiwork gets seen with and as part of my artwork.

Charleen STROUD

HANNAH-SEAMSTRESS, 2019BASIL-STONEMASON, 2019Linen with embroidered cotton floss in shadow box (from wedding picturesof Charleen’s mother and father)23.6 x 23.6 x 2.3 in (60 x 60 x 6 cm)

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My work begins with utilization of traditional basketry techniques. From there, I begin to

employ unconventional materials, shapes, and purpose. I approach new work following

the question ‘I wonder’ and then explore new materials in ancient techniques.

These works use copper wire as the dominant material with vintage sequins and cane

as secondary materials. They are formed using a traditional basketry technique called

looping. Looping is a technique used by a wide variety of cultures to make functional

items such as carrying bags, nets, or baskets. Often grasses, bark, or other soft plant

material strong and flexible native to the country was used. This relationship to past

practices across a wide variety of cultures is a valued link to my work. I am practicing

an art that has history.

These pieces are unique in shape and material. Each piece is an interpretation of the

traditional fish trap. Although, to my knowledge, we don’t utilize fish traps on the West

Coast I have always been drawn to the ingenuity of their shapes and the materials.

These are my version of fish traps.

Melanie THOMPSON

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FISH TRAPS, 2019Copper wire, vintage sequins and cane2–3 ft x 4–12 in (60.96–91.44 x 10.16–30.48 cm)

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I was born in Scotland and grew up there, moving to Canada as a young adult. My work

is based on the ancient craft of Shetland lace knitting, renowned for its artistry and

expression of boldness and fragility. Lacework is a balance of open and solid areas

which form patterns on the surface space. Here in Canada, I have taken this craft in new

directions by exploring new fibres and new motifs of my own design often inspired by

the natural environment around me. I interweave these new motifs with traditional

motifs. The new fibres have different qualities that give additional components to the

patterns of space. My piece is an article of wearable art, for which I have selected a fibre

with properties of drape that enhance the body. It is a full length veil, created using

fine Tencel thread. Tencel is a wonderfully soft thread made sustainably from wood

fibre. As I created my veil, I found that the material flowed effortlessly over my bamboo

needles. The fibre is certified compostable and biodegradable giving it the ability to fully

revert back to nature. In creating the veil, I selected some motifs with connections to

nature, and others simply for their beauty. Both types of motif are intermingled in the

garment. Motifs with connections to nature include Honeycomb, Bird’s Eye, Pebbles,

Flower Motif and Print of the Wave. Motifs selected for their beauty include Shetland

Twin, Italian Medallion and Bead Diamond, while other motifs such as Horseshoes,

Van Dyke, Lace Holes and Ladders were selected for balance in some areas to create an

overall effect.

Catherine THOMSON

SERENITY, 2018Fine Tencel thread70 x 17.5 in (177.8 x 44.45 cm)

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As an artist who immigrated to Canada I searched for a figurative home within the

context of the new country both symbolically and literally. My journey concluded on

Vancouver Island some years ago where I finally had a sense that I had arrived. I felt

connected and humbled by the local landscapes, the awe-inspiring Pacific Ocean, the

flora and fauna, the openness of people.

My brooch, titled Coming Home speaks to finding home in British Columbia. The wooden

building blocks with enameled topographies show the moment in time when the

elements fit together. Wood as a material reflects the local economy that so heavily

relies on lumber. Blue Chalcedony stones and black pebbles represent the nurturing

of the ocean. All elements float within the white spackling that here imitates the sand

but as a material is used in home building. The sterling silver frame reminds me of

the preciousness of the moment of arriving home.

Additionally, I have been fortunate to quickly become a part of a local metalsmith

community whose welcoming spirit allowed me to feel supported while pursuing my

personal interpretation of this ancient craft form.

Monika URBANIAK

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COMING HOME, 2019Sterling silver, wood, enamel on copper,chalcedony stone, white spackling3 x 2.25 x 1.5 in (8 x 5.5 x 3.5 cm)

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~Hope~

What do you do when you find yourself living on a rare jewel of a giving yet struggling

planet spinning in the Universe and you realize that we are all alone and together with

no rescue in sight?

You build Life Boats

You Include Everyone

You pack your essential supplies

Connection, Communication and Compassion

Then from here we cultivate a new way of being Together

and new way to thrive and flower Together on this thin crust we call home

Maybe we can find a new way to Create, Celebrate and form a Circle of All of us

As we face each other and

Listen and Learn and

Live as Playfully as we can

Nancy WALKER

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LIFEBOAT~HOPE, 2019Two grades of fine porcelain clay,transparent glaze11 x 9.25 x 2.5 in (32 x 22 x 6 cm)

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The woven wall hanging Bone Wings was created while doing a textile artist residency

in the northern town of Blonduos, Iceland. The contrasts of the landcape, the north

sea, the striking mountains and frozen plains of Iceland was the landscape while

throwing the shuttle back and forth. The visions of the land, the smells of sea air, I’d

weave into my creations. The sound and rythmn of the 100-year-old looms a backdrop

to the vistas I looked out on while I wove Bone Wings. The fierce winds and steady

strength of the land served as inspirationfor the leather and crystal aspects the piece.

I have been sewing and creating a wide range of textile and leather pieces for over

20 years. From intricately detailed wearable art to woven wall hangings. Using many

different materials and natural fibres such as silk, wool, leather, gemstones and metals

I follow my heart to create unique and original works of art. I am always looking out for

new materials, methods and techniques to challenge myself. I grew up on the West Coast

of North America, reaching as far south as San Diego and as far North as Vancouver

Island. I have lived on the East of the continent in the iconic Bay of Fundy, Nova Scotia to

the metropolis of Toronto and south of the Canadian border in Long Island and Brooklyn,

New York.

I have travelled the world from the jungles of South America to the Dalai Lama’s home

of McLeod Ganj, India. From the pristine Bay of Islands in New Zealand to the cold

plains of Northern Iceland. My many expirences and memories of the lands and the

peoples that live in them are one of the many creative wells from which I draw my

inspirations. Of all the places I have travelled in the world, my home in the small

seaside town of Gibsons Landing on the West Coast of Canada holds my heart. There

I have firmly placed my roots with studio and show room Hand Reef and Sew. The name

harkening to a bygone era of traditional skills and handmade leather goods and art. The

constant changing of the sea and the wild and free beauty of the rugged West Coast

keeps my heart filled with inspiration and my hands busy creating.

Ocean WILSON

BONE WINGS, 2017–19Wool, leather, copper,titanium quartz crystal12 x 30 in (30.48 x 76.2)

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In Canada our cultural geography is just as vast and diverse as our physical landscape.

It is in this geography that my current work is positioned. Deeply informed by my

ancestry, both in subject matter and aesthetically, I employ personal narrative as

a vehicle to address the issues of sense of place, acculturation, appropriation, memory,

migration, loss of language, and cultural identity—including racism. Though thoroughly

personal in content this work speaks to a greater immigrant experience that is very

distinctly Canadian, even generations beyond the actual passage.

Photographs invoke a personal and intimate space. Images of my mother, grandmothers

and great grandmother are worn at heart level as the embodied grief for the trauma

of the diasporic experience they have each lived—the experience of not belonging; of

feeling fractured; of being in between a place they no longer knew and one in which

they were not recognized or seen. The use of sentimental materials such as portions

of fabric and seeds from my grandmothers or culturally significant items such as jade,

symbols or pearls is dually an act of homage to my ancestors while at the same time

a deep lament for what was literally lost in the migration of my family to Canada.

As a child I was fascinated by my grandmothers’ and mother’s hands working. As a crafts-

person in Canada there is not a lineage of tradition that I come from but there is the

working with my hands connecting me to the work of my mother and grandmothers.

There are frayed threads to a cultural memory that are not quite lost that I am literally

trying to stitch together. Might this work be an attempt to cobble these fragments back

together again to recognize who I might be or have yet to become.

Kari WOO

MATER/MATTER, 2020Family archive images, vintage brass, jade,found cotton (old rice sack), seeds, birch bark, pearl,seed beads, sterling silver, acetate, polyester thread30 x 4 x .5 in (76.2 x 10.16 x 1.27 cm)

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What do we hold to be precious? Why could it not be the perfect and beautiful squiggle

of a single branch? Basketmaking has a communal history in nearly every culture on

the planet. When I weave, I feel linked to this collective history of civilization; a time

when we had respect and a deep, generational knowledge about the self sustaining

systems of the earth. Somehow the patterns and resilient features observed in natural

ecosystems have faded from view. Lost like unspoken languages. Throughout my process,

from the deliberate act of harvesting and preparing materials, to the slow craft of weaving

itself, I have a direct connection to the physical geography of my home. I feel in tune

with the cycles of nature and, in some way, like I am reclaiming a small part of ancient

knowledge, wisdom and power.

“These deep time signatures also serve as a tacit reminder of the human condition:

that we are makers, and that we have always lived in a world of making. It defines

us, we need it, it’s good for our health and it makes us ‘better.’”

Alexander Langlands, Cræft: An Inquiry Into the Origins and True Meaning ofTraditional Crafts

Christi YORK

COPPER VEIN, 2019Contorted hazel, Virginia creeper, gilt copper16.5 x 5 in (41.91 x 12.7 cm)

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This collaborative partnership between the Craft Council of BC and the Italian

Cultural Centre encompasses the hard work and inspiration of a dedicated team.

The exhibition features all traditions of craft practice in British Columbia from the

First Nation traditions to the European and Asian traditions.

Artists

Angelo Cavagnaro, Veronica Danes Waechter, Amy Gogarty, Barbara Heller, Debbie Katz,

Marlene Liddle, Lou Lynn, Bettina Matzkuhn, Danielle J. Morsette, Meghann O’Brien,

annie ross, Katherine Russell, Michelle Sirois Silver, Debra Sloan, Debra Sparrow,

Charleen Stroud, Melanie Thompson, Catherine Thomson, Monika Urbaniak, Nancy

Walker, Ocean Wilson, Kari Woo, Christi York

Guest Curator: Mary-Beth Laviolette

Exhibition Coordinator: Angela Clarke

Welcome and Opening Address: Debra Sparrow, Musqueam Nation

Indigenous Liaison: Pam Brown, Heiltsuk Nation

Exhibition Catalogue Design: Linda Coe Graphic Design

Interviews, Press Release, In-house Design CCBC: Alex Montes

Craft Council of BC Executive Director: Raine Mckay

Interns and Support Staff: Jasmine Hynes, Kristin Hamilton

Installation: Rory Gylander

Installation Support

Bettina Matzkuhn, Filomena Picciano, Trish Graham, Debra Bodner, Catherine Nicholls,

Mary-Beth Laviolette, Pam Brown, Nigel Haggan, Lou Lynn, Luigi Bastoni

ICC Catering: Fabio Rasotto, Mike Cosariu, Claire McNeil, Jackson Noah

Additional Thanks

Mario Miceli, (Executive Director of ICC), Irada Yuzbayova (ICC Financial Comptroller),

Giulio Recchioni (ICC Culture Director), Anissa Paulsen and Sue Donaldson (BC Arts

Council), Laura Saresky, Paul Gravett (Heritage BC), Dennis Espiritu, Efrain Contras,

Edda Onesti, Randy Rinaldo (ICC Board Vice President), Mike Cuccione (ICC Board

President), Carl Johnson, Nigel Haggan

Acknowledgements

Il Centro Italian Cultural Centre3075 Slocan Street, Vancouver, BCwww.italianculturalcentre.caTel: (604) 430-3337

HoursTuesday–Saturday 10:00AM–5:00PM

Office HoursMonday–Friday 10:30AM–4:00PMShop HoursMonday–Sunday 10:30AM–5:30PM

LINDA CO

E GRAP

HIC DES

IGN

Front Cover:Angelo Kalum Cavagnaro, Hawkman & Sons, 2019

1386 Cartwright St,Vancouver, BC V6H 3R8craftcouncilbc.caTel: (604) 687-7270