I arranged with Lefebvre Gallery, in Edmonton, to hold my first major exhibition as a full-time artist in the spring of 1978, along with fabric artist Maureen Hemingway.
I was full of ideas for it. However, we suddenly decided to move to a small farm an hour’s drive northwest of Edmonton, with a ramshackle house and an old, broken down barn, with only an old granary to work in. But I managed to get a show together, borrowing room in other potter’s kilns.
I explored textures on basic shapes (spheres, cubes, cylinders), made by pressing clay slabs in wooden or plaster moulds. I used a warm-coloured clay, augmented occasionally with an iron oxide wash to emphasize the texture.
Only one piece, a large, convoluted arch, was glazed. I made the arch to try a building technique that I’d devised, using slabs of clay sandwiched with nylon ‘crinoline’ mesh for tensile strength. It was also a test of my building abilities, because the piece required two separate, twisting towers that had to join at the top with the twists matching.