Lana grew up on the shores of historic and bi-lingual Georgian Bay, Canada. A passion for story-telling and a firm relationship with its Natural History have found their way into the whimsical narratives that she creates. Lana has a BAH from Queen's University and a diploma in Craft and Design from Sheridan College, specializing in Ceramics. Outside of her major in French Literature, Lana is a passionate learner and has studied a broad range of subjects from Geology and the History of Life, Archaeology, Environmental philosophy and Native and Eastern Religions. She is fortunate to spend her time in the studio pursuing lifelong learning opportunities and is a proponent of academic audio courseware and podcasts. She likes to think about the thousands of hours of audio embedded in her work peppered with music.
She strives to access a language that allows magic to exist in our everyday lives, whether in her sculptural or functional work. This language harkens back to places that are familiar yet subversive of her material. Humorous nostalgia becoming light physical daydreams in clay, manifest from big ideas. She approaches themes of transience in shared human-experience; ephemeral states solidified in porcelain, ideas about forbearance and a gentle nod to the human Truths, mostly Impermanence. Her material once liquid, is symbolically transformed then crystallized in time.
Clay, can be forever unchanged on the scale of human artifact, yet symbolizes an inherent paradoxical fragility. Simultaneously one of the oldest traces of ourselves but insignificant on a geological scale. One time a vestige of experience later to be re-upped into the landscape of metamorphic rock. A snapshot pertaining to fractals of some cosmic dust.
Recursions - Artist Statement.
As the paradox goes, in order to understand recursion; one must first understand recursion. To understand the procedures used by material artists, one must first understand the processes that such materials are subject to in the natural world.
Minerals, dead organisms and metals are the primary constituents of clay and glaze and the primordial ingredients of our universe and ourselves. Subject geologically, by the transformative additions of time, energy, heat and pressure as well as weathering - so does the material artist act upon their materials mimicking these processes to create the tiny universes that express life. This paradox is what fuels my current studio practice.
The bursting into life of the art object calls on the power of these transformational processes to build a vocabulary that is self-similar, returning back to original procedure. The work becoming representations of systems of death and rebirth; of chaos and reorganization and changing of form.
The manipulation of material happens over long periods of time within the artist’s day-to-day, emulating these forces. Oftentimes, the work occurs through a candid succession of decisions made beyond a realm of concept but as a component; comparable to an autonomic response in the body or an ecology of natural systems. Just as after a deliberate breath, one continues to breathe involuntarily; the artist’s entity is made up of a series of everyday studio experiences culminating in moments of glittering creative ecstasy. In this case, not dissimilar to the driving forces observed in industrious insects or the solute molecules of a crystal arranging themselves in a matrix. Clay is a component of the ceramic artist’s natural life which encases as it creates experience.
These processes occur as inherently as sedimentation being deposited in a riverbed; or the moon and the Earth interact to cause the tides, the force between the maker and their material is palpable.
My relationship drawing the figurative from my material has become inseparable from its literal beginnings.