HUSTED & ZINGELER
An on-going collaboration with artist Kristine Zingeler on functional ceramic pieces. The various forms are wheel-thrown by me then adorned with Kristine’s linear carved patterns, reminiscent of much of her collage and painted work.
This is a collection that we’ll continue adding to with time. Each piece will be unique.
Remaining items are for sale in the shop.
FIELD KIT x HUSTED
A special edition of the beloved Field Kit candle, this time in ceramic.
The jars are glazed only to the interior, leaving them feeling very much like raw stone or concrete, and sit on their lids while the candle is lit.
The terracotta jar is expertly poured with Field Kit’s custom scent, The Curator, smelling subtly of cocoa beans and amber. And the grey one with The Arborist, my favorite of her scents, in pine and pepper. Both are in a color-matched wax.
The jar is reusable and can be returned to Field Kit once burned out for refilling with whichever of her scents you prefer.
Shelter for What Remains – 2018
A collection of work by various Calgary artists and craftspeople encouraging us to consider the funeral process and reimagine funeral vessels. Kristine Zingeler and I collaborated to contribute a small series of ceramic urns to the show.
The forms were wheel-thrown and are simple, trying not to call on the familiar forms of more quotidian vessels, as urns often do. As functional objects, thick walls and weight give them durability, and the gallery of the closure is designed to accommodate a bead of sealant for when permanence is desired. They have no obvious top or bottom and can rest on either end, in some cases providing a concave surface or secondary vessel that encourages a grieving or memorial ritual, in the same way one might bring flowers to a grave on significant dates. This directionlessness also makes the form appropriate for burial - suspension in the earth - where a base to sit on is irrelevant.
As aesthetic objects, these urns are minimal and spare. They leave space for those grieving to project the energy of the departed onto their surface and into their form. There is a quiet power in them that feels appropriately monastic and yet they do not blatantly advertise their function. They can exist gently in the home, with the bereaved, or in the ground. A spare palette of white, grey, and black keeps the pieces elegant and quiet. The clay was left unglazed with the thought that, if buried, over time the earth might more easily make its way through the stoneware walls of the vessel, allowing the remains of the departed to rejoin the earth’s cycles.
Covering their surfaces are carvings that reference the Southern Alberta landscape, acting as a link to the land in which they might be interred. Each urn references a specific place in Southern Alberta, with delicate lines describing the land in geologic terms. Though drawn from historical maps, the mark-making becomes swarm-like when removed from its context, rendering the images unidentifiable and thrusting them towards abstraction. They are rooted in the familiar and yet appear mysterious and unknowable.
Though the urns photographed are reserved for exhibition, custom commissions are welcome.
Other contributers to the show included:
Kai Owens, who hand wove a beautiful willow casket for an infant - email@example.com
Peter Freeman, who built a gorgeous memorial cabinet - @conscious_wood
Chantall Lafond, who wove the most incredibly soft, simple, and beautiful shrouds - firstname.lastname@example.org
Lane Shordee and Nikki Martens, who created a mysterious vessel combining a wood, ceramic, and cloth - laneshordee.com
Joseph Brocke, who built a boat-like coffin referencing the funerary practices of Norse mythology - email@example.com
Al Urlacher, who took the stunning photos of everyone’s work - @alurlacher
Tyla Cosgrove, who curated the show and will continue to be a champion for the dead as a newly minted Death Care Practitioner - firstname.lastname@example.org
The show was supported by The City of Calgary and Blank Page Studio