The studios at Workshop are home to over 35 artists and artisans with a wide range of disciplines and practices. Scroll down to meet a few of them!
Tom Brown is an artist specializing in miniature objects. His work is centered around the one-sixth scale Miniature Kitchen, a portable, fully-functional, hand made kitchen, featuring over 100 distinct tools. Together, they perform live as Feeding the Masses, cooking miniature food for unsuspecting members of the public. Tom’s work is whimsical, highly detailed, and innovative. He brings a sense of joy and light-heartedness to his art, hoping to inspire those who come across him and his kitchen in their own creative journey.
Michaela Bridgemohan is a Canadian visual artist of Australian and Jamaican descent. Her work fluctuates between a collaboration of drawings, sewing, photography, and sculpture as she tries to capture the transformative interactions associated with female biracial identity. Using her own body as a spectral, she explores Caribbean folklore to interpret personal narratives of “otherness”, hegemonic ideologies linked to racial dichotomy and the stoic nature associated with womanhood.
Alyssa Ellis is in a constant ongoing, revolving and dissolving love affair with botanical life. They work together, play together and by all means narrate together in order to further develop their complicated relationship. While multidisciplinary in nature, the experimental research of their stories fluctuates between textiles, drawing, performance and installation. Despite always connecting back to the idea of plant storytelling, they strive to do nothing more than to unearth stories that delve into nature’s darker side.
John F Gerrard
My work is meant to evoke an energy and illusion of movement: To be busy but balanced. Sometimes the drawings are maps, maybe variations of a person. Sometimes I am creating a scene. As I continue to develop my visual language and symbology, I hope to find gestures that are in some way universal. There is something fundamentally human about making art. The mystery of it all keeps me coming back to explore it again and again. Making images in this way creates a closeness to an instinctual region in the brain that I am interested in fostering.
Hand stitched leather goods designed and made by Sara Nishi.
Chase creates functional ceramics using locally sourced wild clay and often unconventional glaze materials from cigarette ash, oil rig cores, scraped rust, to simple rocks. His work ranges from reflecting the farm roots of Alberta with wheat motives and glazed with clay from his family farm, to more anxiety-induced pots with obscure symbols, carved inner thoughts, and glazed with wild clay, various ashes, and rusts.
Yvonne Kustec is a Calgary based artist whose work explores theories around image and identity. She plays with representations of women in the media, reconstructing the figure through layers of texture, colour and gloss. Her process involves subverting conventional associations and experimenting with unusual uses of traditional and non-traditional materials. She works with objects traditionally associated with femininity such as vintage housewares, figurines and antique jewelry imprinting their textures to cover the body in simulated skin, armour or clothing.
As a potter making functional work I am challenged by both aesthetic and ergonomic considerations. Functional pots should enhance rather than complicate our daily rituals; a robust pot that works well is more likely to be used on a regular basis rather than just sitting on the shelf. Contemporary design objects and architecture inspire my work, along with historic pots that are grounded in utility and tradition. I want my pots to have volume, to allude to their ability to contain and nourish and to have gesture with out becoming too animated. I often work in small editions, allowing me to constantly refine designs and ideas, and it is often past ideas revisited that prove to be the most successful. I use many of my pots at home to see how they fit the hand and the lip. I want to make sure that each spout pours smoothly and lids fit well, important details that define good domestic design and make handmade pots a pleasure to use. Handmade objects connect us to the people that make them, and the craftsmanship is a reflection of the maker’s time and energy. In increasingly dense urban societies where technology can serve to alienate us, a virtual environment cannot replace a thoughtful handle.
Terri Millinoff / Ceramic Fixtures
Born: paleolithic era
1981 Hons.B.Sc.Geology, University Of Windsor
1981- 2012 Work as an exploration geologist, geochemistry & hobby ceramics
2012-2018 Ceramic Fixtures, focused on lighting and functional ceramics
I aim to create simple & useful ceramic forms and enjoy working with natural materials sometimes collected directly from the field.
Ryan Danny Owen
Ryan Danny Owen is a visual artist and writer. His practice reveals notions of identity, love, loss, desire, and time through the use of the archive, bleached denim, collected pornography, and performance, acting as an abstracted documentation of queer past, present, and future. In his archiving project Mirrors and Windows, He collects found photographs of men from the 1950s to late 1980s as a means to examine his own sexuality and queer gaze as well as document a history with the potential to be lost. His work is a close contact questioning of what it means to come after.
Nina Palmer / Platform Projects
Platform Projects is a branding, illustration and design studio run by Nina Palmer and Todd Macfie. We build brands and design communications for the arts & culture and culinary industries. Hand work is a valuable part of our practise and informs many of the brands we create–in the form of illustrated and hand lettered assets. We work with people who make the world more diverse in its ideas, more delicious and more visually intriguing.
Hannah Petkau grew up on the Gulf Islands of British Columbia and is currently based in Calgary, Alberta where she completed her BFA with Distinction at the Alberta College of Art + Design in 2015. Her affinity with materials began at an early age, when pieces of plastic, plywood and wire were collected and assembled with driftwood, rocks and beach glass. Her practice continues to negotiate this interplay. The integration of found materials, which are manipulated both by her hands and by previous unknowns, blur the differentiation of human and natural actions and exist in an intermediate space.
Jocelyn Reid is an artist currently living and working in Calgary, Alberta. Since her graduation from the Alberta College of Art and Design in 2013, Reid has travelled extensively, participating in many residency programs including the Guldagergaard International Ceramic Research Centre in Denmark, the Archie Bray Foundation in Montana, and Medalta International Artists in Residence. Through her work, Reid has taken part in multiple exhibitions throughout Canada, the USA, and Europe, including at the Alberta Craft Council in Edmonton, VivianeArt in Calgary, the Apple House Gallery in Denmark, and the Kirkland Arts Centre in Washington. Reid is the current Ceramics Technician at the Alberta College of Art + Design.
Secret Wool Society / Megan Borg
Secret Wool Society is self-taught fibre artist Megan Borg. Northern Alberta-born and Calgary-based, Megan loves using natural fibres and experimentation to create weird and wonderful one-of-a-kind woven wall hangings inspired by textures found in nature, with a touch of mid-century modern influence. More recently, Megan began incorporating clay in to her work as a way to challenge herself and consider interesting ways of working with the two mediums together.
Megan teaches fibre art classes at Stash Lounge and is currently enrolled in the Master Weaver program at Olds College. When she isn’t playing with fibre and clay, you can find her hanging out with her partner and three cats, or puttering around her backyard vegetable garden.