Past Exhibitions

15th Annual National Jewellery Student Competition

Posted by L.A. Pai Gallery on

The 2018 finalists of the 15th annual National Jewellery Student Competition:

Emilie Bisson-Yassa, Ecole de Joaillerie de Québec
Justine Bonnin, École de Joaillerie de Montréal
Sophia Gaspard, École de Joaillerie de Montréal
Anastasia Pindera, Nova Scotia College of Art and Design 
Blake Van Buren, Alberta College of Art and Design

Our thanks to this year's gracious jurors: 

Emily Zilber, Editor of Metalsmith Magazine (US) 

Imogen Greenhalgh, Deputy Editor of Crafts Magazine (UK) 

Barbara Cohen, Art Jeweller and Curator

Meet the finalists at the opening on August 18th 1-3 p.m.; the winner will be announced at 2 p.m. The exhibition runs until September 9th.

Click here to view the exhibition catalogue

 Thank you to our donors for their continuing support: 

The British Crafts Council, Crafts Ontario, and the Society of North American Goldsmiths 

 

     

The British Crafts Council aims to make the UK the best place to make, see, collect and learn about contemporary craft by building a strong economy and infrastructure for contemporary craft, increasing and diversifying the audience for contemporary craft and championing high quality contemporary craft practices nationally and internationally. We believe that craft plays a dynamic and vigorous role in the UKs social, economic and cultural life. We believe that the future of craft lies in nurturing talent; children and young people must be able to learn about craft at school and have access to excellent teaching throughout their education. 

   

Craft Ontario is a not-for-profit service organization that works to have craft recognized as a valuable part of life. We promote and celebrate professional craft through providing member opportunities, and advocate for craft practice by educating and empowering diverse audiences.

The Society of North American Goldsmiths (SNAG) publisher of Metalsmith Magazine. SNAG aims to create an organization of designer craftsmen in the metal arts field and to produce a conference of professional jewelers. In 1969 a larger group met two more times, establishing the basic parameters of the organization, its name, and plans for the first SNAG conference in 1970.

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15th Annual National Jewellery Student Competition

Posted by L.A. Pai Gallery on

The 2018 finalists of the 15th annual National Jewellery Student Competition:

Emilie Bisson-Yassa, Ecole de Joaillerie de Québec
Justine Bonnin, École de Joaillerie de Montréal
Sophia Gaspard, École de Joaillerie de Montréal
Anastasia Pindera, Nova Scotia College of Art and Design 
Blake Van Buren, Alberta College of Art and Design

Our thanks to this year's gracious jurors: 

Emily Zilber, Editor of Metalsmith Magazine (US) 

Imogen Greenhalgh, Deputy Editor of Crafts Magazine (UK) 

Barbara Cohen, Art Jeweller and Curator

Meet the finalists at the opening on August 18th 1-3 p.m.; the winner will be announced at 2 p.m. The exhibition runs until September 9th.

Click here to view the exhibition catalogue

 Thank you to our donors for their continuing support: 

The British Crafts Council, Crafts Ontario, and the Society of North American Goldsmiths 

 

     

The British Crafts Council aims to make the UK the best place to make, see, collect and learn about contemporary craft by building a strong economy and infrastructure for contemporary craft, increasing and diversifying the audience for contemporary craft and championing high quality contemporary craft practices nationally and internationally. We believe that craft plays a dynamic and vigorous role in the UKs social, economic and cultural life. We believe that the future of craft lies in nurturing talent; children and young people must be able to learn about craft at school and have access to excellent teaching throughout their education. 

   

Craft Ontario is a not-for-profit service organization that works to have craft recognized as a valuable part of life. We promote and celebrate professional craft through providing member opportunities, and advocate for craft practice by educating and empowering diverse audiences.

The Society of North American Goldsmiths (SNAG) publisher of Metalsmith Magazine. SNAG aims to create an organization of designer craftsmen in the metal arts field and to produce a conference of professional jewelers. In 1969 a larger group met two more times, establishing the basic parameters of the organization, its name, and plans for the first SNAG conference in 1970.

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Introducing I-Chun Jenkins to the Gallery

Posted by L.A. Pai Gallery on

Growing up in a tiny fishing village on the small island of Taiwan surrounded with a rich heritage of native culture and natural beauty, I became sensitive to vibrant colours and texture at an early age.  

I was formally trained in textile artistry in the New Brunswick College of Craft and design where I was inspired to combine my weaving skills with my creative thoughts to push the boundaries of textile art.

Creating intricate paper pieces from repurposed magazines allows me to stay with my traditional textile training in the form of weaving but to also explore using new materials and methods to create one of a kind work.Caring about the environment has led me to repurpose discarded magazine paper as my new textile.

 View the exhibition here 

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Introducing I-Chun Jenkins to the Gallery

Posted by L.A. Pai Gallery on

Growing up in a tiny fishing village on the small island of Taiwan surrounded with a rich heritage of native culture and natural beauty, I became sensitive to vibrant colours and texture at an early age.  

I was formally trained in textile artistry in the New Brunswick College of Craft and design where I was inspired to combine my weaving skills with my creative thoughts to push the boundaries of textile art.

Creating intricate paper pieces from repurposed magazines allows me to stay with my traditional textile training in the form of weaving but to also explore using new materials and methods to create one of a kind work.Caring about the environment has led me to repurpose discarded magazine paper as my new textile.

 View the exhibition here 

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A Season for Everything - A Journey Through Time and Space

Posted by L.A. Pai Gallery on

A Season for Everything - A Journey Through Time and Space

A visual tale in porcelain which playfully engages with the notion of time and space. The works follow eight friends who represent eight phases of the moon and the notion of passing time. The characters travel through the seasons, and along their journey, they encounter different representations of the history of philosophical thought on the nature of time and space.

If time and space, as sages say, Are things which cannot be, 
The sun which does not feel decay No greater is than we. 
So why, Love, should we ever pray To live a century? 
The butterfly that lives a day Has lived eternity. 

T.S. Eliot, “A Lyric” 

 Lisa’s work has been exhibited in Canada and internationally with recent exhibitions at Craft Ontario, Karsh-Masson Gallery, and Art-Image. She is the recipient of numerous awards including the Prix du CALQ 2017 – Work of the Year in the Outaouais (Conseil des Arts et des Lettres du Québec), Best in Clay in The Fusion Clay and Glass Show 2017 (Toronto), Best in Show in the New Art Festival 2017 (Ottawa), Honorable Mention in the Gyeonggi International Ceramic Biennale 2017 in South Korea, 4th Place in the Viewer’s Choice Awards for the International Competition of the Gyeonggi International Ceramic Biennale 2017, and a Recommendation Prize in the 2016 Taiwan Ceramics Biennale. She lives and works in Chelsea, Quebec.

 Click here to read notes from Lisa's artist talk at the Gardiner Museum during her exhibition A Season for Everything – a Journey Through Time and Space

 

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A Season for Everything - A Journey Through Time and Space

Posted by L.A. Pai Gallery on

A Season for Everything - A Journey Through Time and Space

A visual tale in porcelain which playfully engages with the notion of time and space. The works follow eight friends who represent eight phases of the moon and the notion of passing time. The characters travel through the seasons, and along their journey, they encounter different representations of the history of philosophical thought on the nature of time and space.

If time and space, as sages say, Are things which cannot be, 
The sun which does not feel decay No greater is than we. 
So why, Love, should we ever pray To live a century? 
The butterfly that lives a day Has lived eternity. 

T.S. Eliot, “A Lyric” 

 Lisa’s work has been exhibited in Canada and internationally with recent exhibitions at Craft Ontario, Karsh-Masson Gallery, and Art-Image. She is the recipient of numerous awards including the Prix du CALQ 2017 – Work of the Year in the Outaouais (Conseil des Arts et des Lettres du Québec), Best in Clay in The Fusion Clay and Glass Show 2017 (Toronto), Best in Show in the New Art Festival 2017 (Ottawa), Honorable Mention in the Gyeonggi International Ceramic Biennale 2017 in South Korea, 4th Place in the Viewer’s Choice Awards for the International Competition of the Gyeonggi International Ceramic Biennale 2017, and a Recommendation Prize in the 2016 Taiwan Ceramics Biennale. She lives and works in Chelsea, Quebec.

 Click here to read notes from Lisa's artist talk at the Gardiner Museum during her exhibition A Season for Everything – a Journey Through Time and Space

 

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Keepsake: Micah Adams & Amanda McCavour

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With thread, Amanda deftly draws things around her in 1:1 scale: house plants, flowers, furniture, wallpaper, and tangles of rope and thread. As part of a practice of sketching and object-based enquiry, most of these retain a strong likeness to their sources, while others morph or accumulate into larger expressions and colour fields. In a series of lined paper drawings – delicate, full of empty space – each page unravels into loose mass of threads, becoming a three-dimensional form. Clusters of spirographic discs are transformed into a field of hanging blooms, whereas other textile “rounds” lose their floral association altogether, forming what the artist calls “neon clouds.” Working at this scale – and using the strategy of repetition to manifest larger forms – reveals the size and nature of the artist’s tools, which are also domestic in nature and scale. Often working with a standard sewing machine on water-soluble paper, she constructs and activates “the line,” while amassing thread into something much more substantial than we typically know it to be.

More often though, Micah sculpts by cutting. Working in miniature, and with found objects that he cuts into and cuts out of, he effectively alters coins, plates, bottles, and other ordinary “thrift store” or collectible finds. With precision and patience, he turns an image of the American Lincoln Memorial penny into a pair of tiny glasses, cutting out the voids between its iconic columns. Using the Italian San Marino coin as both a medium and inspiration, he creates a structure of joyful children. With a series of plates adorned with sentimental Norman Rockwell illustrations, Micah carefully removes the (cracking) pictorial layer to show what’s underneath: an American brick bond. With another plate, he cuts out an arched window. Glass beer and gin bottles, as well as a ceramic teapot, are also treated with the same brick pattern. A Zippo is transformed into a tiny chimney with its surface of bricks. Both the Rockwell images and bricks point to home – an adopted and perpetuated notion of the domestic that is familiar to those that live “on this side of the pond.” In this way, Micah participates in a kind of home-making that is different yet akin to Amanda’s remaking in thread the “things of everyday life.” - Text by Deborah Wang

The exhibition ran from May 10th - 30th 

Click here to read the exhibition catalogue 

Click here to view the work 

 

  

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Keepsake: Micah Adams & Amanda McCavour

Posted by L.A. Pai Gallery on

With thread, Amanda deftly draws things around her in 1:1 scale: house plants, flowers, furniture, wallpaper, and tangles of rope and thread. As part of a practice of sketching and object-based enquiry, most of these retain a strong likeness to their sources, while others morph or accumulate into larger expressions and colour fields. In a series of lined paper drawings – delicate, full of empty space – each page unravels into loose mass of threads, becoming a three-dimensional form. Clusters of spirographic discs are transformed into a field of hanging blooms, whereas other textile “rounds” lose their floral association altogether, forming what the artist calls “neon clouds.” Working at this scale – and using the strategy of repetition to manifest larger forms – reveals the size and nature of the artist’s tools, which are also domestic in nature and scale. Often working with a standard sewing machine on water-soluble paper, she constructs and activates “the line,” while amassing thread into something much more substantial than we typically know it to be.

More often though, Micah sculpts by cutting. Working in miniature, and with found objects that he cuts into and cuts out of, he effectively alters coins, plates, bottles, and other ordinary “thrift store” or collectible finds. With precision and patience, he turns an image of the American Lincoln Memorial penny into a pair of tiny glasses, cutting out the voids between its iconic columns. Using the Italian San Marino coin as both a medium and inspiration, he creates a structure of joyful children. With a series of plates adorned with sentimental Norman Rockwell illustrations, Micah carefully removes the (cracking) pictorial layer to show what’s underneath: an American brick bond. With another plate, he cuts out an arched window. Glass beer and gin bottles, as well as a ceramic teapot, are also treated with the same brick pattern. A Zippo is transformed into a tiny chimney with its surface of bricks. Both the Rockwell images and bricks point to home – an adopted and perpetuated notion of the domestic that is familiar to those that live “on this side of the pond.” In this way, Micah participates in a kind of home-making that is different yet akin to Amanda’s remaking in thread the “things of everyday life.” - Text by Deborah Wang

The exhibition ran from May 10th - 30th 

Click here to read the exhibition catalogue 

Click here to view the work 

 

  

Read more


Josée Desjardins: My Mother's Dress and My Father's Pipes

Posted by L.A. Pai Gallery on

Jeweller of the interstitial, Josée Desjardins explores the intimate connection between humans and their sociocultural and geographical environment. She casts her glance upon the empty spaces between the seen and the unseen, the present and the future, the body and the environment, in order to pick up the subtle poetry that settles there. Her new exhibition is based on the deconstruction and reconstruction of objects inherited from her family. The artist starts from the premise that the creative process has the power to transform reality past, present and future, and thus re-invent history:  "Freed from fetters and prohibitions, the beauty that this great story contains can finally be reclaimed here and now in a true alchemical process."  

 Josée Desjardins has been engaged in the art of contemporary jewelry for 35 years and has taught numerous generations of students. Born in Hull, she lives on the shores of the St. Lawrence River, in Rimouski, QC. Her Masters Degree in Psychosocial Practices focused on the issue of isolation within the creative process. Since 2016, her work has been part of the permanent exhibition at the new Pierre Lassonde Pavilion of the Musée des beaux-arts du Québec, and she has twice designed the medals for the Prix du Québec.  

Exhibition ran from April 19th - May 9th 2018

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Josée Desjardins: My Mother's Dress and My Father's Pipes

Posted by L.A. Pai Gallery on

Jeweller of the interstitial, Josée Desjardins explores the intimate connection between humans and their sociocultural and geographical environment. She casts her glance upon the empty spaces between the seen and the unseen, the present and the future, the body and the environment, in order to pick up the subtle poetry that settles there. Her new exhibition is based on the deconstruction and reconstruction of objects inherited from her family. The artist starts from the premise that the creative process has the power to transform reality past, present and future, and thus re-invent history:  "Freed from fetters and prohibitions, the beauty that this great story contains can finally be reclaimed here and now in a true alchemical process."  

 Josée Desjardins has been engaged in the art of contemporary jewelry for 35 years and has taught numerous generations of students. Born in Hull, she lives on the shores of the St. Lawrence River, in Rimouski, QC. Her Masters Degree in Psychosocial Practices focused on the issue of isolation within the creative process. Since 2016, her work has been part of the permanent exhibition at the new Pierre Lassonde Pavilion of the Musée des beaux-arts du Québec, and she has twice designed the medals for the Prix du Québec.  

Exhibition ran from April 19th - May 9th 2018

Read more