Process

Unveiling the Blood-Stained Reality of Cobalt: From Congo Mines to Canadian Ceramic Artistry

Unveiling the Blood-Stained Reality of Cobalt: From Congo Mines to Canadian Ceramic Artistry

In an era of tech innovation and eco-friendly pursuits, the origins of our materials demand scrutiny. "Cobalt Red: How the Blood of the Congo Powers Our Lives" opens eyes to the grim truth behind cobalt mining. Let's delve into the harrowing tale of exploitation fueling our smartphones, electric vehicles, and ceramics. Cobalt, vital for batteries and low-carbon tech, primarily stems from Congo, marked by rampant human rights abuses and environmental degradation. Artisanal miners, including children, endure hazardous conditions for meager pay, with toxic exposure and minimal safety measures. The cobalt supply chain remains complicit, with stakeholders ignoring Congolese suffering. Despite claims of ethical sourcing, child labor and abuses persist. It's a system designed to keep Congolese enslaved to the mines, overlooked by the world. A call for accountability echoes Kara's urgent plea for change. As ceramic artists, we must prioritize ethically sourced cobalt. Canada emerges as a promising alternative, offering responsibly mined cobalt as a sustainable choice. Let's advocate for change and shape a more ethical future for our industry.

Harmonies of Heritage: An Artistic Journey Through Time, Nature, and Societal Narratives

Harmonies of Heritage: An Artistic Journey Through Time, Nature, and Societal Narratives

In the ethereal realm of artistic creation, my journey unfolds as a deliberate and dynamic exploration, intricately shaped by the rich tapestry of historical, cultural, and societal influences. Within this immersive odyssey, every choice of material, thematic exploration, and collaborative endeavor becomes a purposeful navigation through the intricate landscapes of identity and heritage.

Thoughts on my Design

Thoughts on my Design

Through mindful exploration, I find grounding in deep time, ‘re-membering’ myself as an anthropocosmic being, and appreciating the land I inhabit. Utilising craft as my connection, I create work that captures my perceived phenomenological experiences of time, spirituality and land. Made with love and imagination, my art attempts to deal directly with these concepts of identity I can’t get to otherwise.

GROWW: Guiding interdisciplinary Research On Women’s and girls’ health and Wellbeing

GROWW: Guiding interdisciplinary Research On Women’s and girls’ health and Wellbeing

It is an honour to create conference gifts for GROWW: Guiding interdisciplinary Research On Women’s and girls’ health and Wellbeing. GROWW aspires to change the way women's health research is conducted in Canada by removing academic and institutional barriers and taking an intersectional approach to understanding girls' and women's health across the lifespan.

Bow Valley Artists for Ukraine

Bow Valley Artists for Ukraine

I am grateful for the opportunity to participate the Bow Valley Artists for Ukraine fundraiser. My great-grandparents were Ukrainians. My great-grandfather, Anton Tyndyk (1890 - 1972), moved to Keppel, Saskatchewan from Knyazhyi Mist, Lvivska Oblast, Ukraine in 1911.Barbara Mot (1896 - 1983), my great-grandmother, was born in Ukraine and married Anton Tendeck in Saskatchewan. I have never met my great-grandparents, though I often think about my heritage as I explore my identity through the land I reside and Canadian history in my work.

The Value of Gift

The Value of Gift

In a capitalist environment, Hyde explains how vital it is to create as an artist and look for ways to transform their work from commodities to gifts. Working with organizations like the Banff Centre and the Banff Public Library has aided me in my endeavour to decolonize capitalism by allowing me to continue creating my work through their support

The extended delay in new work.

The extended delay in new work.

My kiln was a gift. A wonderful, supportive, surprise gift. A gift with the intention to give me the freedom of my own studio. From a person I don’t know well, but saw my work and wanted to support me. I am so thankful for this gift, I needed this gift at that time. I had just had a child and all income I had was going to support my family and home. This gift allowed me to create when my little one went to bed; it allowed me to keep my identity as an artist; it allowed me to do what I love. I developed a new ceramic style with this kiln, I created my own glazes, I found supporters to purchase my wares. I can’t even begin to express my gratitude for this gift.