Sharon will be studying the worldwide collection of ceramics and other works in the collection from two viewpoints. First, to see how they might inform her unique style of sculptural/functional work—whimsical pieces that function as vessels or bookends, where mythical beasts and fairy tale characters crawl up the sides of bowls and cups or hide inside and emerge from the pages of books.

Sharon’s other area of interest is masks. During her time at MOA she will be examining the Museum’s collection of more than 1500 masks from many parts of the world. “Three decades ago,” she explains, “while visiting the Museum I was so intrigued by a mask from Japan that it literally haunted my dreams, until I recreated a similar piece out of clay. That was after one afternoon visit. The opportunity to study the MOA collection more thoroughly will, I hope, enable me to use what I learn to influence my work. This would be truly inspiring.”

Sharon has been working with clay since 1979. Driven by her passion for all aspects of the ceramic arts, she was determined to find time to work in her studio alongside raising a family, taking courses, and teaching in schools and community centres.  Her perseverance is well stated on her website in a quote from J. M. Barrie’s book, Peter Pan: “The moment you doubt whether you can fly, you cease forever to be able to do it.”

In the early 1990s she moved to a programming position at the Shadbolt Centre for the Arts, Burnaby, where she had the opportunity to work with exceptionally skilled instructors and a myriad of internationally acclaimed guest artists. Through these experiences she developed a broad base of skills, including sculpture, hand building and wheel throwing, plus an insatiable appetite for learning from both practice and research. All of her work is handcrafted in high-fired stoneware, using a combination of hand-building techniques, and wheel-thrown or extruded forms. In 1995, Sharon was promoted to Ceramic Arts Programmer, retired from the Shadbolt Centre in 2017, and returned to the studio full-time to “release all the creatures who have been patiently waiting in those bags of clay.”

Please stop by to visit Sharon when she is in the Judy Cranmer Ceramics Laboratory, and learn more about her work at www.sharonreay.com.

Originally from Fernie, BC, Dusty is a member of the Ktunaxa/Kinbasket Nations of the Lower East Kootenays. From childhood, he has been enchanted by the world of puppets, and draws inspiration from the animated puppets of Jim Henson, Noreen Young and Paul Fusco that he frequently saw on the screen. As the creative director and founder of Color Sound Lab Puppet Makers, Dusty has now been performing and designing puppets for 20 years, in a broad range of styles from marionettes, hand and rod puppets to 2-D paper puppets, Bunraku and shadow puppets. Dusty’s puppets pertain to an assortment of themes including the Wonderland Tea Company, Celebrity Puppets, Lab Rats and Monsters, Fierce and Fearless, and BC Wildlife Puppets. He is also one of the co-founders of the Vancouver International Puppet Festival.

Most recently he won a 2019 Leo Award for Best Art Direction in an Animation Program or Series for the stop motion animated film, Biidaaban (The Dawn Comes), with Amanda Strong, Cat Hayes and Femke van Delft, which can be viewed in MOA’s current feature exhibition, Shadows, Strings & Other Things: The Enchanting Theatre of Puppets.