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 1977 RECIPIENT
 Robin Hopper  PotterAbout the craftsperson | 
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   | "Robin Hopper has been prolific in his production of ceramics  both 
functional wares and one-of-a-kind pieces and uncompromising in the high 
standards he sets for himself. Hopper's relationship to the land combines 
the approach of the painter and the ceramist. Robin Hopper, the teacher, 
author and ceramic artist of international acclaim, is above all a 
knowledgeable, lively, generous individual. Through Robin's work one sees 
his consistent interest in civilizations past and cultures present. The 
many ideas derived from his travels, his curiosity, his scientific 
understanding, and his ongoing experimentation and exploration have 
resulted in unique colours and glazes and in interesting combinations of 
form and design."
 
Patricia E. BoveyDirector
 Art Gallery of Greater Victoria
 Victoria
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   | Robin Hopper feels that he acquired little technical knowledge of ceramics 
at art college in England, where he grew up. However, he did gain a rich 
historical appreciation of European, classical, and Oriental aesthetics. 
Beyond this formal training, Hopper was influenced by three prominent 
British potters. William Staite Murray and Hans Coper were among the first 
British potters of this century to use modem studio pottery as a personal 
medium of expression. Bernard Leach, who was born in China, brought the 
styles and techniques of Oriental functional pottery to the Western world.
 
These were the influences Hopper brought to bear in his teaching and in his 
studio after emigrating to Canada in 1968. Hopper experimented with the 
medium, seeking a more scientific understanding of his craft and 
rediscovering ancient techniques of pottery manufacture. He manipulated 
different-coloured clays to recreate the seventh-century Chinese method of 
making agateware, and moulded contrasting clays over rigid forms to reflect 
the eighteenth century Japanese technique of "neriage".
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   | He altered the chemistry of ceramic glazes and colours, and applied 
multiple glazes onto wheel thrown pottery; Later, he was drawn to the 
ceramic accomplishments of ancient Mediterranean cultures.
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   | Passing on the results of this research to his students, apprentices and 
interested professionals, Hopper has demonstrated tremendous skill and 
energy as communicator. As a teacher, he emphasizes the technical aspects 
of ceramics to his students rather than its aesthetics, which he feels can 
be developed independently of scientific knowledge.
 
In his books, Hopper passes on what he has learned about ceramic glazes and 
colour, pottery forms, and the history of ceramics. He has juried numerous 
exhibitions, and has conducted workshops and given lectures at symposia in 
Canada, the United States, Japan, New Zealand and Great Britain. He has 
also served as a director, founding member or board representative on 
several craft councils, and continues teaching at the Metchosin 
International Summer School of the Arts, which he co-founded in 1985.
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   | Landscape Plate, 1979
 Porcelain, hand-built
 Multiple glazes, trailed, poured and brushed;
 glaze intagilio through wax resist
 36 cm x 36 cm x 10 cm
 CMC 86-116 (Bronfman)
 
 
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   | Basket Form, Classical Series, 1982
 Porcelain, thrown and altered
 Multiple glazes, sprayed and brushed
 32 cm x 24 cm x 16 cm
 CMC 86-117 (Bronfman)
 
 
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 | Participating in all these activities has its drawbacks however, as Hopper 
is obliged to schedule time for the production of his own work within a 
full agenda of tours and lectures. Yet Hopper appears to thrive on this 
hectic pace, and, his technical mastery and ability to demystify the 
chemistry of ceramics, and his willingness over many years to share the 
results of his research have already influenced a generation of potters.
 
His dedicated enthusiasm and participation in a contemporary ceramic 
tradition continues to influence the ways in which potters produce both 
functional ware and one-of-a-kind exhibition pieces.
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  | Shell Forms, 1974
 Agate porcelain, thrown and altered
 Unglazed
 Left to right:
 No. 2: 20 cm x 13 cm; CMC 86-114 (Bronfman)
 No. 1: 26 cm x 14 cm; CMC 86-113 (Bronfman)
 No. 5: 20 cm x 12 cm; CMC 86-115 (Bronfman)
 
 
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