As part of her exhibition at CCBC, we sat down with artist Debra Sloan to explore her creative journey. In this insightful interview, Debra offers a glimpse into the roots of her inspirations, the meaningful exchanges she shares with her audience, and the moments of respite she cherishes outside her studio.
Les Grande Dames will be on view in our gallery from June 6 to July 25, 2024.
tell us about yourself
In 1968, I took classes at the Ross Hughye School of Pottery, while in Grade 10. Later I made a workplace in my parent’s basement. After one year at UBC, working, and a couple of years travel, I began my self-directed apprenticeship managing a pottery school – something way beyond my actual skill-level. During those years Hiro Urakami invited me to show at his legendary House of Ceramics Gallery (1972-78), in 1976 and 1977. (Once with Mary Daniel) After 6 years it was time to attend art school. In 1979, I attended the downtown campus of the Vancouver School of Art, which moved to Granville Island as Emily Carr College. During those years I also rented studio space from Jeannie Mah at Backdoor Pottery, and from Hiro Urakami and Elise Seigel at Tanzar.
In 1982, my husband and I built a garage-studio, and I started a line of slipware pottery from red Haney earthenware I dug up and processed. In 1985 we started our family and have 4 children. In 1991, I was invited to start a figurative clay sculpture program at the Shadbolt and continued for 22 years. During that time, I was selling and exhibiting at the Gallery of BC Ceramics, Circle Craft and Crafthouse (currently CCBC Shop & Gallery), and elsewhere. I also served on the PGBC and CCBC Boards, and the Circle Craft Selections Committee.
In 2003/04, I returned to ECIAD for my BFA. In 2005 I started collecting BC ceramic marks. In 2021 CCBC provided the assistance of an intern to create a digital platform for the BC Ceramic Mark Registry, BCCMR, and during those Covid years, Allan Collier and I uploaded the marks and bios of hundreds of BC ceramicists – from the 1920s – present day, and BCCMR is now part of the CCBC’s Craft Archive.
“After one year at UBC, working, and a couple of years travel, I began my self-directed apprenticeship managing a pottery school – something way beyond my actual skill-level.“
From 2010 – 2019 , I attended 7 international residencies (3 of them with travel buddy, Mary Daniel) in Hungary, the UK, Rome, and Japan, and in 2019 spent a year at MOA, studying the Koerner Collection. In 2009 I also started writing about ceramics. My first publication was a collaboration with Phyllis Schwartz and Glenn Lewis – which led to an invitation to the Leach Pottery in 2014. I was invited to research and respond to rare 1926 Leach equestrian finial sculptures. Apparently, I was the first sculptor to work at the Leach in near 100 years. I collaborated with Peter Smith of the Bojewyan Pottery in Cornwall, to produce 2 books about historical equestrian sculptures in the West Country, in 2015 and 2017.
It was in 2008 when a work of mine was finally accepted into an international exhibition – after many years of trying. I have persisted with applying to international exhibitions, rather than being adopted into private galleries. This allows more creation-freedom, instead of being under pressure to sell at a gallery. For income I taught ceramics from 1976 until 2013. I taught at community centre night classes – so childcare was not a problem. Community teaching offers freedom from marking and long-term commitments. I housed foreign students, and also taught in my studio for 12 years, and modestly sell and exhibit through the local craft venues. I have volunteered for provincial Craft organizations, currently acting as president for the North-West Ceramics Foundation. I urge any reader of this article to volunteer for these wonderful organizations that facilitate exhibitions, shops, awards, public and funding support for the crafts, and a big community.
“It was in 2008 when a work of mine was finally accepted into an international exhibition – after many years of trying. I have persisted with applying to international exhibitions, rather than being adopted into private galleries.“
what inspires you?
A National Film Board documentary, “Peter and the Potter” that I watched in 1959 – in grade 2 – about the Deichmanns, New Brunswick potters who had immigrated to Canada in the 1930s.
what has been your audience’s response to your work?
No idea – but suspect there may be some puzzlement and perhaps some discomfort, and hopefully some intrigue and connection.
what activities do you enjoy when you’re not working on your art?
Living – house and family – my husband, our four stellar children and four stellar in-law children, with 5 wonderful, and pending #6 grandchildren, and 2 meat-tube dogs. I continue to do volunteer work as president of the North-West Ceramics Foundation, a great deal of communication with other artists, writing about ceramics, working on the BC Ceramic Mark Registry, and the CCBC McGill project – iMPACTS. And I read – belonging to 2 book clubs. And for repose – watching the satirical Midsomer Murders accompanied by martinis. Life feeds your work.
about debra
Debra Sloan is an internationally exhibited artist who began as a self-taught ceramicist in 1973, eventually receiving her ECUAD BFA in 2004. Maker, teacher, adjudicator, writer, presenter, served on provincial craft boards, and currently president – North-West Ceramics Foundation. Attended international residencies in Hungary, Italy, UK, Japan, and 12 months at UBC MOA. She has received many awards including Best of Show – 2023 FIREWORKS, hosted by Fusion, in Toronto. Her community practice includes the creation of the BC Ceramic Mark Registry, hosted by CCBC. In May 2024 she attended the Wallace Steger Residency in Saskatchewan.