began with a strong design training including the poles of The Arts and Crafts tradition and the Bauhaus, as part of his training as a cabinet-maker. Keith found clay in the 70s and took further Art training in both England and America.
Work remains rooted in the vessel tradition but has moved from earlier functional ware and then ritualistic containers to current large, purely geometrical and organic sculptural statements.
Keith has worked and exhibited in Japan and Australia. His work is represented in national and international collections.
had initial Art School training in England with Arthur Griffiths and David Leach, within the Leach, Cardew, Davis traditions.
She is primarily interested in vessels for everyday use and tries to retain evidence of the clay’s plasticity throughout the process, including the use of slips and always wanting to go beyond the thrown form. Time away from the wheel allows for explorations into more figurative work both modeling and working with slabs.
2018 Hilde Gerson Award
Keith & Celia received the 2018 Hilde Gerson Award for Excellence in and support of Crafts in B.C.
Established by the Craft Council of B.C. in honour of Hilde Gerson, who was a long time employee of CCBC, textile artist and an enthusiastic craft supporter, this prize is awarded biannually to a craftsperson who has demonstrated excellence and leadership in the B.C. craft community. This was the first time the prize was awarded to a couple.
I have always been a maker. My work reflects early design training in England as a woodworker and combines both ideas about architecture, ritual from a variety of cultures and a strong influence from the modernist tradition. Though I still retain a connection with making smaller vessels, my abstract sculptures are my main focus. Ranging from my play with solid geometry through organic pieces that begin as carved maquettes to post-firing assembled elements that allow me to transcend the size limitations of the kiln, they reference large bones and Totems, Inukshuks or Cycladic figures.
Although I am enamoured with all aspects working with clay, I am primarily interested in making pots for food. My aim is for each piece I make to have a presence of its own, to invite being picked up and handled, and to stand quietly while waiting for use. My love is for a generous form which retains evidence of its making through all the processes and stages, which invites and includes the user, and adds to the richness of the domestic routine.
Grouping of 5 pieces approximately 72 " high