Opportunity: Studios at the Hive!


Hive studios available NOW!

STUDIOS AT THE HIVE HAVE ADVANTAGES. We have conveniences like a gallery for exhibitions, two large washing sinks, kitchen, opportunities to teach in our classroom, a shared laptop computer, and a camera to use for documenting your work, just to name a few!

The Hive Artists’ Hub continues to provide safe affordable studio space to artists, designers, musicians, and other creatives. Get out of your basement and off your dining room table to join us. Our studios are great for single artists or for sharing with a friend. Our space provides excellent opportunity in a creative environment with fellow artists who provide support and encouragement.

We currently have these studio spaces available:

Studio A:
Measures 87.5 square feet, has four walls with a door and window leading into the main corridor and a window into an adjoining studio (Studio B), ceramic tile floor.
Rent for this space is  $126 per month plus $25 contingency fee per person.

Studio D:
Measures 113.5 square feet, has three walls and one partial wall, built in shelving, wood laminate floor.
Rent for this space is $164 per month plus $25 contingency fee per person.

Studio H:
Measures 98.4 square feet,  has three walls, modern wallpaper, window, white laminate floor
Rent for this space is $142 per month plus $25 contingency fee per person

Call 403-504-5371 or contact info@hivehub.ca


Studio: Good things come in 3.



When I have my head down in work mode the world sort of melts away. The balance of a healthy and happy life wains and waxes like all things. Normally a pottery selling season is what dictates my lulls and busy times now as a student it is the semester’s deadlines. I am shocked to say it is midterm time more specifically week six of a 15week school semester. I find myself in three ceramic studio classes constantly flipping back and forth from three conceptually and physically different ways of making. Would you like to hear the breakdown?

1)Ceramic Studio

An exploration of form, line and color of functional ceramic tableware.

2)Independent Study

A body of  work commenting our North American crisis and fragmented industrial food systems and beliefs.

3) Large Ceramic Sculpture

A workshop class pushing the boundaries of clay and my first foray into hand building!

Studio: Updates on studio work pictures and anecdotes posted up all about the secret life of potters, this one in particular.

Techno-(glaze): What we can do.

I realize that I may have jumped the…goat, gun, fence, shark when it comes to Tuesday and the Techno-(glaze) category. Glaze is the coolest thing ever! The template I have created may be quite bland and contain information all potters already know. It is a greedy tool- a refresher for me, but not presented in raw note form. My notes being spiky colorful convoluted things, much like my though processes.  The problem is that I get sucked into the depths of my glaze books. One fact leads to another and hours pass only with snippets of relevant info for the given material to be featured on Tuesday. I am finding it a great challenge to organize and relate any of it to you with a certain degree of passion when not presented in a spiky colorful convoluted way. I have decided to let bygones be bygones and display glaze info as I come across it, in staccato fashion. The template will live on but be punctuated by facts and tangents and a more truthful representation of my relation with glaze technology.

One of the possible reasons for my inability to aptly represent glaze technology here is because it is such an endless topic- oddly enough that should be the very thing that makes it appropriate for the rambling tome that is this blog. I posted a crit from the 500 Cups book two weeks ago. It is my practice writing opinions of a pot on a page everyday smack dab on the printed page of the book that has led me to much contemplation of glaze material uses. Whilst flipping through the book yesterday it dawned on me just how inexhaustible the glaze surface and subsequently glaze technology is. Just take a gander at the short slide show of pitchers below, from the 500 Pitchers Book, just consider the limited glaze materials in the glaze room and how they were use to give such varied effects. Consider the endless choices and experiments done by each maker in getting everything just so. It is this immensity of possibility the potter is faced with upon entering to studio each day. Decisions, decisions.

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Late nights and early mornings.

Every four to six months I pack up my life and bits of my studio to relocate. It is just how I live. I am a poor nomad, poor as in pitiful– as in please pity the fool (aka me).  I own a lot of things. For the last five years, three times a year I fain a traveller. I don’t pack light. I move with the kilns, wheel, pots, accordion, typewriter, record player, subsequent records and dog, not to mention the tent and books and cast iron frying pans that are my baggage. A settler on the move with no land to claim. The notion of land ownership is a myth to my generation and position. Here I give a sigh for the wood kiln of my dreams that will never have a place. The white whale.

Even for an Ishmael I’ve got a lot of stuff. Query kind sir, where may I find a larger sail boat?

The point is, well what is the point? The point is that I keep making more….stuff.

A fellow potter just the other day said, “I don’t know how you do it.” She meant how I always leave my studio behind. Pity the fool, indeed. My leaving severs any continuity in making but I know now that making is a cyclical thing anyways, with lulls and gaps inbetween bouts of heavy production. My cycles are just geographically  and seasonly governed. My annual separation from a centralized studio keeps me hungry for making, though it is a making fragmented. Always, ALWAYS when I am leaving I make something perfect, something good, something that is a big slap in the face telling me not to go (see below). I MUST go. Later (in September), the quest to get to something good starts anew. Until then, I will be silently contemplating my ideas and sketching madly away the summer- all discoveries muddling up what I thought I knew so that I can re-learn it all again come Fall.

The real point to this post is that I promised myself a week ago that two weeks ago would be my last wet clay day. For those of you unfamiliar with this concept: The ceramic process begins with the molding of wet clay, but then in subsequent weeks (or in my case week!) an item must be decorated, refined, fired, glazed, re-fired, sanded, cleaned and photographed. It is a long arduous process of making and the later steps in it all are less romanticized and publicised than the first steps of molding wet clay. It is these final steps I rush and push and try, especially when I must move on- quite literally. A day must be set to stop any wet clay work. My friend Carly was just saying that the studio tech at her school has taken to smashing any newly made thing he finds- I respect this idea entirely. But I seldom heed this sage advise. I make with increasing vigour every day after my last wet clay day. My impending separation from wet clay a force driving me on and on and jeopardizing the following steps in process. For it is in the next step of slip decoration I truly play and experiment (Lines and dots! Ungulates. Lines and dots!).

A mere 10 days away I will leave my sweet small town, my life all boxed and labelled (Oh my, I hope) and pots all made (Oh my, I hope!). Good thing I am putting the final touches on these still very wet bowls and plan on throwing a few things tomorrow?!!!

Thus, I apologize to you and myself for my lack of quality posting. There is much to share and say but it will have to wait a bit. Still, keep checking the blog because with all the impending crazed busyness I may find myself needing to post. Often, when we do a lot it only makes it easier to do a lot more (and rambling seems more legit).

Here are the beauties I just finished decorating… to be very sketchily and very slowly fired tomorrow night:

P.S. How many days do you give yourself to finish off work? When is your last wet clay day?