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ANNUAL REPORT 2017-2018

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With an emphasis on Canadian artists, the Gallery brings exhibitions to the public that are grounded in craft processes, engaged in contemporary experimentation and meaningful to diverse audiences. By exhibiting and collecting contemporary works in ceramics and glass,

the Gallery inspires dialogue, critical discourse and new ways of thinking. The Gallery’s media specificity is its

distinguishing characteristic and greatest strength.

3Canadian Clay & Glass Gallery Annual Report 2017-2018

Board of Directors(as at March 31, 2018)

Marilyn Allen (Treasurer)

Shelley Crawford

Jerre Davidson

Nicholaus de Koning (Secretary)

Soheila Esfahani

George Harper

Peter Hersics

Thomas E. Mennill (Chair)

Terry O’Neill

Neil Sarginson

Rebecca Short

Elvan K. Suzer

Meghan Whitfield (Vice-Chair)

NON-VOTING MEMBERS

Astero Kalogeropoulos (City of Waterloo Staff)

Bill Poole

Angela Vieth (Council Liaison)

Left: Vessels from Gossamer Series, 2017. Julia Reimer. Part of Trajectories exhibition. Photo by Karl Griffiths Fulton.

Staff(as at March 31, 2018)

Bill Poole .......................... Executive Director

Sheila McMath ................. Curator

Katherine Ronzio .............. Manager of Development & Marketing

Nadine Badran ................. Manager of Public Programs

Linda Brine ....................... Retail Manager

William Hlowatzki ............ Public Relations & Events Coordinator

Tsukiko Keogh .................. Curatorial & Collections Assistant

Žana Kozomora ................ Marketing & Communications Coordinator

Charmayne Greig ............. Bookkeeper

Contents4 Chair’s Report

6 Executive Director’s Report

8 Curator’s Report

12 Education Report

15 Awards Report

16 Gallery Shop Report

18 Treasurer’s Report

19 Management Responsibility for Financial Reporting

20 Independent Auditor’s Report

21 Statements of Financial Position

24 Notes to Financial Statements

28 Development Report

31 Supporters 2017-2018

31 Donors

32 Volunteers

32 Special Thanks

33 Gala Supporters

35 Members

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Celebrating its 25th Anniversary in 2018, the Canadian Clay & Glass Gallery has worked diligently in the past year to be prepared to boldly address the challenges of the next 25 years. Consequently, the Gallery undertook key foundational activities in the past year that were firmly fixed on the future through a period of significant change and transition.

A significant change for which the Gallery needed to prepare was a change in its leadership. Early in 2017, Executive Director Bill Poole advised me that he would be stepping down at the end of July 2018. Bill has made an immeasurable contribution to the Gallery as Executive Director since 2010. I am grateful to Bill for all that he has done to strengthen the organization during his tenure. Bill’s many accomplishments at The Clay & Glass include achieving financial stability, assembling and mentoring a talented team, strengthening the Gallery’s position in the community and forging and nurturing new relationships with donors. As Board Chair, I am particularly grateful for the open ongoing dialogue that Bill maintained with the Board of Directors. Above all, we will miss his friendly and respectful approach to everyone he interacted with. The Gallery is very fortunate to have had the right person at the right time to lead the Gallery for the past eight years.

Developing a new strategic plan to guide the Gallery forward was a significant undertaking during the year. In October 2017, a group of Gallery stakeholders, consisting of staff, Board, other volunteers and community members, met for two and a half days to discuss and debate the priorities of the Gallery. It was important that the strategic planning process be done at this time, with the knowledge that Bill Poole would be stepping down. The Board decided to complete the plan prior to commencing the search for Bill’s successor, so that they could be confident that the successful candidate would be ready and able to execute plans to achieve our strategic priorities.

The resulting strategic plan included the following key strategic directions:

• Creating and sharing our story more effectively by: using a variety of platforms and communication tools; engaging in partnerships and agreements beyond our current sphere of influence and across borders; and working to be exemplary in the support for artists and the development of their practice.

Guests at The Clay & Glass Gala bid on a unique selection of Silent Auction items. Photo by Tomasz Adamski.

CHAIR’S REPORT

Artworks from the Cultural Topographies exhibition: (L to R) Prone, 2017. David R. Harper; Bouquet series, 2008. Léopold L. Foulem. Courtesy of the artist and of David Kaye Gallery, Toronto. Photo by Toni Hafkenscheid.


• Moving towards thoughtful, effective mobilization of people by expanding our human resource capacity through volunteer programs, internship and leadership development.

• Making the gallery a popular gathering place, attracting audiences that reflect the diversity of the community by making the Gallery more accessible and welcoming, and by reaching out to under-represented groups in its current audience.

• Developing the means and expertise needed to have meaningful engagements through digital tools by integrating technology and hands-on experiences and seeking technology sector partnerships.

I want to thank everyone involved in the creation of the new strategic plan.

With the broad strokes of a strategic plan created, a Succession Task Force was established by the Board to identify the Gallery’s next Executive Director. The Succession Task Force consisted of six Board members and two people from the external arts community. The Task Force engaged in a very thorough search and interview process. Ultimately, the Board approved Denis Longchamps as the successful candidate for Executive Director effective August 1, 2018. Denis’s extensive arts experience, especially in the ceramic and glass sector, makes him an excellent fit to lead the Gallery.

At the Annual General Meeting in September 2018, I will have completed my tenure as Chair of the Board of Directors. It has been my honour to work with such a positive, effective and hard working group of Directors at this vital organization. Thank you to the Board for their work in advancing the Gallery during the past year, in many cases beyond its traditional role.

The staff of the Gallery, under Bill Poole’s leadership, deserves special recognition for their work during the past year, particularly for their continued dedication during a period of change and transition, and their great patience during the renovations in the Gallery.

Thank you also to every one of the members, donors, sponsors, funders, visitors and advisors of the Gallery for their continued support.

Thomas E. MennillCHAIR

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EXECUTIVE DIRECTOR’S REPORT

Garth Clark presents his Keynote Lecture at Knox Presbyterian Church on June 23, 2018 as part of the Gallery’s 25th Anniversary weekend celebrations. Photo by Katherine Ronzio.

At the core of a public art gallery such as ours are the artworks that are the physical manifestation of the Gallery’s raison d’être. But at the heart of a public art gallery such as ours are the people who care for those artworks, exhibit them, and bring them to life for visitors ranging from school children to senior citizens. Our ‘people’ are the professional staff, board members and other volunteers who make the Canadian Clay & Glass Gallery succeed as it has. And it is those people who have made my eight years here as Executive Director the richly rewarding experience it has been.

The year being reported on, 2017-2018, was memorable for many reasons. It was the year in which our audited Financial Statements include an Accumulated Surplus replacing the Accumulated Deficit that had been there for many years. Generating our seventh operating surplus in eight years led to this long sought-after outcome. It was the year in which we worked with the City of Waterloo, WalterFedy and R-CHAD General Contracting Inc. to execute the $1.3 million renovation project that was generously funded by the City of Waterloo and the Canada Cultural Spaces Fund. It included a new roof, new HVAC equipment, new windows in the Shantz and Tower galleries and the Shop, and new LED lighting throughout the public spaces on the main floor. It was the year in which we planned and began to execute our 25th Anniversary exhibitions and celebratory activities. More specifically, we re-opened the Gallery on the weekend of January 13 and 14, 2018. The 2017 Award for Glass and Winifred Shantz Award for Ceramics were presented on Saturday, January 13 and Trajectories, curated by Sheila McMath, opened on Sunday, January 14.

During the course of the renovations that began in September 2017, staff had to cope in many ways. Their efforts were aimed at keeping the Gallery relevant to the community even though there were no exhibitions, no school visits and no facility rentals possible. Nadine Badran, Manager of Public Programs, created an atypical schedule for ‘Play with Clay’ in the fall of 2017 to work around construction schedules and also developed an outreach program to take clay programs to schools since the schools could not come to us. Linda Brine programmed FUSE exhibitions by Shay Salehi and PJ Anderson in the fall of 2017, while keeping the Shop functioning as well as possible in spite of the construction fencing that made the Shop look closed to passersby.

The 25th Anniversary provided a compelling opportunity to reflect on the past and contemplate the future. As a result, we launched a 25th Anniversary Campaign in 2017-2018 that will enable the Gallery to invest in human resources and the digital tools required to connect with people locally, nationally and internationally. By making these essential investments to build


organizational capacity, the Gallery will be able to focus on reaching a broader and more diverse audience, inviting them to interact with contemporary ceramic and glass art in a way that is both relevant and meaningful. By March 31, 2018, the 25th Anniversary Campaign had generated $86,750 and subsequent to that, in 2018-2019, we have additional cash and commitments totalling $40,450. While campaign donations have been received from many individuals, businesses and foundations, I wish to acknowledge and thank Good Foundation Inc. and The Estate of J. Douglas McCullough for their leadership gifts, and Michael Barnstijn and Louise MacCallum for directing philanthropic gifts to our 25th Anniversary Campaign.

Thanks to two years of hard work by our 25th Anniversary Steering Committee, Chaired by Tom Mennill, the Gallery celebrated its 25th in style. Most importantly, we recruited Ann Roberts and Aggie Beynon to be Honorary Co-Chairs of the 25th Anniversary, and through them kept the sprit of the late Winifred Shantz very much alive. Board member, Terry O’Neill, and his wife Tara Cooper, created a wonderful documentary for the 25th that was premiered at the Alumni and Friends dinner held at Knox Presbyterian Church on Thursday, June 21. The Gallery partnered with FUSION: The Ontario Clay and Glass Association, to hold their annual conference in Waterloo as part of this celebratory weekend of events, workshops and activities from June 21 to 24. Featured events included a Marketing Seminar by Garth Clark, a world-renowned art critic and curator, on Friday, June 22 and his keynote lecture at Knox on Saturday, June 23. Throughout the weekend, guests

enjoyed our 25th Anniversary exhibitions, Then, Now and Next and In Memoriam curated by Sheila McMath in the main galleries, and Chronicle: 25 Years at the Canadian Clay & Glass Gallery, curated by Tsukiko Keogh and Andrew Bucsis, at the Waterloo Visitor and Heritage Informaiton Centre next door. We are grateful to the Ontario Cultural Attractions Fund (OCAF), the Kitchener Waterloo Community Foundation, the City of Kitchener and the City of Waterloo for their support of different aspects of the Gallery’s 25th Anniversary.

Having started my report talking about the people who make it all happen, let me pay special thanks to Tom Mennill with whom I have had an outstanding working relationship for all eight years including the last three when he was board Chair. I also want to thank Lynda Abshoff for her work as Director of Development. When Lynda left at the end of December 2017 to pursue something else close to her heart, I was pleased to promote Katherine Ronzio to be Manager of Development & Marketing. She in turn hired Žana Kozomora to be Marketing & Communications Coordinator. Finally, we welcomed Tsukiko Keogh to the team as Curatorial and Collections Assistant in January 2018 replacing Andrew Bucsis who had left to pursue another opportunity in the fall of 2017.

Gallery staff, volunteers and 25th Anniversary Weekend attendees gather outside the Gallery on June 24, 2018. Photo by Katherine Ronzio.

Bill Poole EXECUTIVE DIRECTOR

Year of the Indian, 2014. Nadie Myre. Courtesy of the RBC Corporate Art Collection. Part of Cultural Topographies exhibition. Photo by Toni Hafkenscheid.

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I am very pleased to reflect upon highlights of the past year’s exhibition programming. In the spring and summer season, the Gallery featured an exhibition that was guest curated by Julie René de Cotret called Cultural Topographies; The Complexities of History and Identity in Canada. The exhibition included artists Ann Beam, Adrian Blackwell, Laurent Craste, Chris Curreri, Léopold L. Foulem, Mathieu Grodet, David R. Harper, Sarah Maloney, Kelly Mark, Nadia Myre, Tasman Richardson and Tim Whiten. Cultural Topographies was held at the same time as Canada 150 and many of the artists were selected because their work addresses the complex themes that are relevant to this specific historical marker. For example, a neon sculpture by Algonquin artist Nadia Myre entitled Year of the Indian (pictured above) was inspired by a work by Greg Hill, in which he replaced the maple leaf on the Canadian flag with three feathers representing the Indigenous people of Canada. Myre’s work interrogates similar narratives related to Indigenous identity by revisiting this imagery in neon. René de Cotret stated that all of the featured artists in Cultural Topographies focused on “the evolution of our Canadian cultural voices in their broader context demanding that we contemplate their origins. Every work highlights the complexity of our reality and the inherent potential for our betterment. In doing so, the chosen works further define our identity.” It was my pleasure to provide support to René de Cotret as she developed and presented this ambitious exhibition and I wish to thank Good Foundation Inc. for its financial support of the Cultural Topographies exhibition.

CURATOR’S REPORT

Timber ! 2011. Laurent Craste. Part of Cultural Topographies exhibition. Photo by Toni Hafkenscheid.


In Winter 2018, we presented Trajectories, an invitational exhibition of works by seven former winners of the RBC Award for Glass. The featured artists (Benjamin Kikkert, Ito Laïla Le François, Aaron Oussoren, Julia Reimer, Brad Turner, Cheryl Wilson Smith, and Rachael Wong) were invited to show new work. The exhibition acknowledged multidisciplinary trends in contemporary glass and illustrated the growth in these artists’ practices stimulated by winning this prestigious award. In 2016, RBC ended its funding commitment to supporting the award, and the 2017 Award for Glass was generously funded by a group of Canadian Clay & Glass Gallery supporters and friends. The Trajectories exhibition was an opportunity to pause and reflect on the fact that the emerging talent in glass was supported through this award for a substantial ten years. It will be fascinating to watch the careers of these committed and talented artists and it has been my honour to have had the opportunity to work closely with each of them. Several of the artists exhibited works that directly addressed the Canadian landscape, both its beauty and its vulnerability, and I was pleased to be invited by editor Margot Lettner to write an article about this exhibition for FUSION magazine. It featured the works of Benjamin Kikkert, Julia Reimer and Cheryl Wilson Smith and will be published in the fall of 2018. I would also like to thank the Kitchener Waterloo Community Foundation – Musagetes Fund for their financial support of the Trajectories exhibition.

I would like to take the opportunity to thank Andrew Bucsis, the Gallery’s first full-time Curatorial & Collections Assistant, for his work over three years here at the Gallery. He provided essential support to the curatorial department, including installation assistance, conservation, research, and management of the database for the Gallery’s collection. Hired in the summer of 2014, he left his position in the autumn of 2017 to pursue an opportunity in the library and information sciences. Tsukiko Keogh, a graduate of Georgian College’s Museum and Gallery Studies program and Ontario College of Art and Design University was hired as the new Curatorial & Collections Assistant. I am pleased to officially welcome Tsukiko to the Gallery team and am grateful for her support and detail-oriented devotion to her tasks. Her wealth of knowledge and genuine passion for contemporary art, as well as her positive attitude, have been invaluable to me.

We are grateful to the private donors who continue to help us to grow and develop our collection. This year, Rob Williams donated two works to the collection, specifically a ceramic plate by Jack Herman and an early functional work by Paula Murray. We were also pleased to accept a significant donation from the Dorothy Hubbs Estate including glass works by Roman Bartkiw, Francois Houde, Robert Held, Michael Robinson, Ed Roman, Karl Shantz and Jamie Sherman. Two cast glass works by Irene Frolic, from the late 1980s, were certified Canadian Cultural

Glass Flooring, 2017. Rachael Wong. Part of Trajectories exhibition. Photo by Karl Griffiths Fulton.

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Final Harvest: Hollow Catch, 2017. Benjamin Kikkert. Part of Trajectories exhibition. Photo by Karl Griffiths Fulton.

Passion, 2013. Mathieu Grodet. Part of Cultural Topographies exhibition. Photo by Toni Hafkenscheid.


Property and joined the Gallery’s collection thanks to a donation from Christopher Tweel. Also accepted into the collection through a generous donation by Mary Ham were four functional ceramic works by potter Robin Hopper. Our sincere thanks to Robert Tetu for his donation of a ceramic work by Scott Barnim, a blown glass vessel by Daniel Crichton, a ceramic teapot by Chandler Swain and a ceramic vessel by Roger Kerslake. We were pleased to acquire a work by the winner of the Winifred Shantz Award for Ceramics, Zimra Beiner, called Suburban Rock, and a work by the winner of the 2017 Award for Glass, Montserrat Duran Muntadas, called Blessures. The Gallery also acquired Tony Urquhart’s only work in ceramic called Terre en Transit, a work that was commissioned for the National Bienniale of Ceramics in 1996. The work was donated in honour of Urquhart’s dear friend Jacques Isrealievitch, a renowned musician, collector and Gallery supporter who passed away in 2015.

I would like to acknowledge and thank my installation team led by Sandy Gordon. I am very grateful to the additional members of the installation team including Michael Ambedian, Judy Donaldson, Karen Fletcher, David German, Stephen Hawes, Lucia Lakotos, Veronica Murawski, Nadine Simec and Hannah Veiga. A commitment to excellence and collaborative spirit is integral to mounting exhibitions and I am truly grateful

to my installation team. I would also like to express my sincere appreciation to Karl Griffiths-Fulton who has been providing beautiful documentation of our exhibitions for many years.

I am truly fortunate to be engaged in meaningful work with my Gallery colleagues, fellow arts professionals and contemporary artists. I remain committed, through my research and development of new exhibitions, to honouring the founders of the Gallery who worked tirelessly to create a space for the celebration of contemporary ceramics and glass. Building on the strengths of the past, I look forward to continuing to bring curatorial programming to the Gallery that is celebratory of our unique position in the cultural landscape of Canada.

Sheila McMathCURATOR

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In the 2017-2018 year the Canadian Clay & Glass Gallery developed new programs and was met with new challenges throughout the year. The support of colleagues, contract staff and volunteers has always contributed to the department’s success.

The Public Programs department continues to provide education workshops to schools in the Public, Catholic and Private school boards. In the fall of 2017, the Gallery was under renovations, and therefore did not have an exhibition in place, and could not make proper use of the classroom. To prepare for these obstacles, the department provided offsite programming in the schools, giving a short lecture on ceramics along with the same hands-on programs we offer in the Gallery. This program was successful, and an added benefit was that it lowered the cost for students, since they did not need bussing. We had a total of 12 schools participate, and delivered 27 workshops. By offering this program in this way, we discovered that it was preferable to do offsite programming for certain schools in the future. For the students at the KidsAbility School, it was much easier for the students and personal care workers to have the programs at their facility. The students are much more at ease in their own classrooms, since they are designed to accommodate all of the students’ needs and because it is a familiar space. For our other schools, we are happy to be welcoming students back into the Gallery space, where they have the opportunity to experience firsthand our exhibitions of contemporary art.

In April 2017 we were pleased to welcome a tour from the Gardiner Museum as part of a reciprocal partnership. In October we took a bus trip with our patrons to the Gardiner Museum and did a second stop at the Williams Mill Art Studios in Georgetown. The Gardiner provided an excellent tour of their permanent collection, as well as access to the amazing Steven Heinemann exhibition that was on at the time. The Williams Mill stop was excellent, as participants were able to talk to the artists, including ones that sell their work in our own Gallery Shop. The day was a great success!

The Gallery continues to provide a variety of adult workshops to the public. Judy Donaldson continued her tradition of facilitating a ceramic bird workshop in the spring, as well as her extremely popular ceramic snow folk and tree workshops for the holiday season. In the spring, local Indigenous artist Emma Smith facilitated a workshop that taught participants how to make a traditional glass bead pendant. This workshop was met

EDUCATION REPORT

A participant’s artwork created in the Birch Bark and Quill Workshop with artists Rebecca Baird and Philip Cote in August 2017. Photo by Nadine Badran.


Participants in artist Judy Donaldson’s Birds for Spring workshop. Photo by Katherine Ronzio.

Nadine Badran MANAGER OF PUBLIC PROGRAMS

with a lot of interest in the community. The participants made beautiful work and Emma was very encouraging throughout the class. In the summer, Indigenous artist Rebecca Baird returned with her Birch Bark and Quill workshop. This hands-on experience was paired with an artist talk in the evening, which was given by Rebecca and her long time friend and collaborator, Philip Cote. Philip is an artist, activist and traditional storyteller from Toronto. Sarah Badran returned with a felting workshop, this time teaching needle felting and helping participants create two- and three-dimensional pieces. Local artist Mark Yungblut also returned with his very successful Japanese paper-cutting workshop.

This year we developed two programs for Newcomers. Both were designed to provide free workshops in clay and glass to local Newcomers groups. We are working with local schools, a youth group through the YMCA, and Shamrose, a bridging program through the Working Centre, to identify participants for these programs.

The clay programs are funded by the Rotary Club of Kitchener Grand River and the Keith and Winifred Shantz Fund for the Arts, which is held at the Kitchener Waterloo Community Foundation. Their donations are going towards providing three ‘play with clay’ style workshops for newcomers, so that they have two sessions, one in which they create something out of clay

and another where they glaze their creations.

The glass workshops were made possible through the Ontario Multicultural Community Capacity Grant. Laurie Spieker, a local glass artist and the owner of Grand River Glassworks, is facilitating these workshops. The participants have the opportunity to make a small plate using glass-fusing techniques. We are also providing transportation, food, and a translator as necessary, since it is important that our services be accessible. These are unique opportunities for the participants to experience making art and learning about their community.

Although this year has brought on many challenges, it was also a year of discovering new means of creating and presenting our programming. Many of the experiences of this year will help the department to prepare for the future and create unique and exciting new programs for our community.

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Top: Students are given a tour of the Cultural Topographies exhibition. Photo by Katherine Ronzio.

Bottom: Participants create artworks using needle felting in a workshop with instructor Sarah Badran in February 2018. Photo by Nadine Badran.

LEFT TO RIGHT: Blessures, 2016. Montserrat Duran Muntadas, Winner of the 2017 Award for Glass. Suburban Rock, 2016. Zimra Beiner, Winner of the 2017 Winifred Shantz Award for Ceramics. Photos by Karl Griffiths Fulton. Zimra Beiner and Montserrat Duran Muntadas pose with Executive Director Bill Poole at the Awards Ceremony on January 13, 2018. Photo by Tomasz Adamski.


AWARDS

The Canadian Clay & Glass Gallery was pleased to present the 2017 Award for Glass and Winifred Shantz Award for Ceramics on January 13, 2018. Zimra Beiner received the 2017 Winifred Shantz Award for Ceramics and Montserrat Duran Muntadas received the 2017 Award for Glass.

The ceremony featured brief artist talks by each of the winners. The first recipient of each award (Susan Collett who won the Winifred Shantz Award for Ceramics in 2001 and Julia Reimer who won the RBC Award for Glass in 2008 ) also spoke.

The winner of each award received $10,000. These prestigious national awards allow early career practising ceramic and glass artists to undertake a period of independent research, or other activities that will advance their artistic and professional practice at a key moment in their careers.

The 2017 Award for Glass is funded by a group of Gallery supporters. The Winifred Shantz Award for Ceramics is supported by the Keith and Winifred Shantz Fund for the Arts, held at the Kitchener Waterloo Community Foundation.

The winner of the 2017 Winifred Shantz Award for Ceramics is Zimra Beiner from Calgary, Alberta. Beiner studied ceramics at Sheridan College, NSCAD University and received an MFA from Alfred University in 2012. His work has been exhibited throughout the United States and Canada, including exhibitions at the David Winton Bell Gallery at Brown University, Cross Mackenzie Gallery, and the Gardiner Museum. Recent honours include

2017 AWARD FOR GLASS & WINIFRED SHANTZ AWARD FOR CERAMICS

the NCECA Emerging Artist Award and nomination for the RBC Emerging Artist Award in Ceramics; recent residencies include The Berlin Ceramics Centre, Germany, and Private Studio Jingdezhen, China. He is currently Assistant Professor in ceramics at the Alberta College of Art + Design in Calgary.

The winner of the 2017 Award for Glass is Montserrat Duran Muntadas, a Catalan-born artist living in Montreal, Quebec. In 2010, she graduated from the Faculty of Fine Arts at the Universitat de Barcelona and in 2007, from the Escuela del Vidrio of the Real Fabrica de Cristales de La Granja, Centro Nacional del Vidrio of Segovia, Spain. Over the years, she has participated in more than 30 national and international group exhibitions including: the SOFA Chicago 2016, the European Glass Context 2016 in Denmark and the European Glass Festival 2015 in Poland. Also, she was a finalist and laureate of several awards such as an award from FUSION: The Ontario Clay and Glass Association and the Bourse ForCGal. Currently, her works which combine glass with other materials such as paper, fabric or diverse organic materials often take the form of wearable art, sculptures and art installations.

The Winifred Shantz Award for Ceramics was juried by Will Gill, Babak Golkar and Lin Xu. The Award for Glass was juried by Warren Carther, Carole Freve and Julia Feyrer.

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The Gallery Shop currently represents approximately 140 artists/makers working in ceramics, glass, and enamel, complemented by several jewellery artists and card artists.

We welcomed several new artists to the shop this year, including Cheryl Wilson-Smith, a previous winner of the RBC Award for Glass, and PJ Anderson, whose work was featured in our fall 2017 FUSE exhibition. After a long hiatus and a significant shift in studio focus, James Lavoie returned with new works in pâte de verre, and Sean Robinson returned with his functional wares inspired by the Canadian landscape.

FUSE EXHIBITIONSOur FUSE exhibition series continues to provide exhibition and sales opportunities to our Shop artists, and also serves as an effective means of introducing new artists. This year we hosted four stellar exhibitions. In spring 2017, Erosion featured recent works in glass by Jerre Davidson. These sculptures are a continuing exploration of the relationship between movement, music and the landscape.

Following that was A Bower, Quiet; Hidden Beings of the Wood. These sculptural ceramics by Mary Philpott have a dark whimsy like the surreal fantasy of Alice in Wonderland, or the urban fairy tales of Neil Gaiman. In fact, two of Mary’s ‘Hares’ were included in the HBO movie “American Gods”.

In the fall of 2017, recent works by Shay Salehi were featured in Pâte de Verre: A Delicate Edge. Salehi’s body of work is focused on the fragility and limitations of glass. Using landscape as inspiration, she plays with line, form, colour and texture to capture the delicacy of the material. Intertwined, Like Kin showcased recent works by PJ Anderson. In this series of work, Anderson explores the fundamental use of pottery and baskets, vessels in which to carry and hold objects. In Anderson’s work the burnished surfaces are offset by the tightly woven fibres that finish the top half of the work.

IN MEMORIAMThe Canadian ceramics community received the sad news in the spring of 2018 of the passing of Jack Sures, shortly after he received the Saidye Bronfman Award that is part of the annual Governor General’s Awards in Visual Arts. Jack has been a favourite Shop artist and a strong supporter of the Gallery for many years.

Pâte de Verre Bowl by Gallery Shop artist Shay Salehi. Photo by Andrea Hildebrand.

GALLERY SHOP REPORT


The Gallery Shop Online now features over 50 artists, but exists in the competitive online selling environment. Our ongoing challenge is to increase the number of visitors to the Gallery Shop and the GSO. We will continue to find creative ways to promote the Gallery Shop in order to increase sales and support the careers of the artists we proudly represent.

Linda Brine RETAIL MANAGER

GALLERY SHOP STAFFWe are fortunate to have knowledgeable and supportive staff in the Gallery Shop. Andrea Hildebrand continues as one of our weekday Shop assistants, sharing her ceramics expertise, keeping our displays looking fresh and doing the photography and maintenance of our Gallery Shop Online. Chloe Blair, with her knowledge of glass blowing techniques and passion to educate patrons about Shop artists, works in the Shop on Saturdays. Diane Koebel, with her background in ceramics, sales and exceptional customer service, works on weekdays and some weekends.

GALLERY SHOP SALESWhile we often hear praise for the quality of work and the beauty of displays from Gallery Shop visitors, it has been a challenging year for sales. Extensive renovations in the exhibition and Shop spaces for several months had a negative impact on sales.

Staff have worked closely with artists over the past year to examine and adjust their pricing structures wherever it was appropriate. This is in an effort to ensure that they are remaining competitive while earning a fair price for their handmade works.

Artist Mary Philpott poses with her FUSE exhibition A Bower, Quiet. Hidden Beings of the Wood. Photo by Katherine Ronzio.

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The 2018 fiscal year represents a financial milestone for the Canadian Clay & Glass Gallery. A significant operating surplus of $49,292 was generated. This result reflects continued financial stability and the prudent management of financial resources.

Most notably, the generated surplus of $49,292 eliminated the Gallery’s accumulated deficit of $10,158 leaving an accumulated surplus of $39,134 as of March 31, 2018.This allows the Gallery to meet its fiscal objective to improve financial stability and build for a sustainable future.

Financial support from the community is needed to ensure the high quality of our exhibitions and programming. The Gallery again received funds from The Keith and Winifred Shantz Fund for the Arts at the Kitchener Waterloo Community Foundation (KWCF). This included an operating grant of $20,000 and a $26,000 grant to fund the Winifred Shantz Award for Ceramics. Various supporters contributed to the Award for Glass with a total $20,000 contribution. The Gallery received $18,800 from the Canadian Clay & Glass Endowment Fund at the KWCF. The Endowment Fund’s assets at December 31, 2017 had a fair value of approximately $496,000, the income from which is available for distribution to the Gallery. The Clay & Glass Gala, the Gallery’s major fundraising event with gross revenues of $59,676, was another success as a result of the hard work of the Gala Committee and the generous support of sponsors and attendees.

It is significant that the Gallery is the recipient of annual operating funding from all three levels of government. Operating funding was received from the Canada Council for the Arts ($42,000), the Ontario Arts Council ($55,908) and the City of Waterloo ($50,000). The City of Waterloo also generously supports the Gallery through a $123,746

contribution towards annual building maintenance. All grants assist with the continued growth and development of the Gallery and the fulfillment of its mandate.

The financial year was characterized by a number of unique circumstances. Construction in the area outside the Gallery continued. In addition, a building upgrade project in the Gallery itself resulted in a closure, which impacted exhibitions and program areas. Nonetheless, there were two unique events that compensated for the shortfalls in the other areas. Both the 25th Anniversary campaign and a special donor event contributed significantly to the positive year-end results.

Gallery expenditures directed to its 2018 operations amounted to $544,086 and include payroll costs, professional and contract services, administration, development, depreciation, promotion and, most importantly, exhibition costs. General non- specific revenues received offset these yearly costs of operations. These included grants and development activity, which covered $453,210 of these operational expenditures. This left an amount of $90,876 that was needed to financially support the Gallery’s operations in the 2017-2018 year. The Gallery relies on earned revenue generation to contribute to this funding situation and offset the costs of running a gallery. The net result for 2018 operations was the generation of the $49,292 surplus.

The Gallery recognizes and acknowledges the efforts of retiring Executive Director Bill Poole for his accomplishments and direction in eliminating the Gallery’s deficit. He leaves a legacy of financial stability, which is the basis to build organizational capacity to expand programming and further enhance the artistic reputation of the Gallery.

The Canadian Clay & Glass Gallery will continue its work on long-term financial sustainability and stability. This is possible because of the demonstrated support and loyalty of patrons and sponsors and the commitment by multiple levels of government as well as the dedication and hard work of the Gallery staff and volunteers. The Gallery is particularly proud of a demonstrated ability as an arts organization to operate in a financially viable and sustainable manner.

Marilyn Allen TREASURER

TREASURER’S REPORT


Management Responsibility for Financial Reporting

May 24, 2018

The accompanying financial statements and all other information contained in this annual report are the responsibility of the management of the Canadian Clay & Glass Gallery. The financial statements have been prepared by management in accordance with Canadian accounting standards for not-for-profit organizations and have been approved by the Board of Directors.

Preparation of financial information is an integral part of management’s broader responsibilities for the ongoing operations of the Canadian Clay & Glass Gallery. Management maintains a system of internal accounting and administration controls that are designed to provide reasonable assurance that transactions are accurately recorded on a timely basis, are properly approved and result in reliable financial information. Such information also includes data based on management’s best estimates and judgments. Management has determined that the enclosed financial statements are presented fairly and on a consistent basis with prior years, in all material respects.

The Finance Committee of the Board of Directors meets with the Executive Director and the Bookkeeper of the Canadian Clay & Glass Gallery on a monthly basis and reports to the Board of Directors thereon. In addition, the Finance Committee and Board of Directors review and approve the annual financial statements.

The financial statements have been audited by the external auditors, RLB LLP, Chartered Accountants authorized to practice public accounting by the Chartered Professional Accountants of Ontario, in accordance with Canadian generally accepted auditing standards. The external auditors have full and free access to management, the Finance Committee and Board of Directors. The Independent Auditor’s Report, dated May 24, 2018, expresses their unqualified opinion on the 2017-2018 financial statements.

Charmayne Greig BOOKKEEPER

William D. Poole EXECUTIVE DIRECTOR

20

INDEPENDENT AUDITOR'S REPORT

To the members of: Canadian Clay and Glass Gallery

We have audited the accompanying financial statements of Canadian Clay and Glass Gallery, which comprisethe statement of financial position as at March 31, 2018 and the statements of revenues and expenditures andchanges in net assets and cash flows for the year then ended, and a summary of significant accounting policiesand other explanatory information.

Management's Responsibility for the Financial StatementsManagement is responsible for the preparation and fair presentation of these financial statements in accordancewith Canadian accounting standards for not-for-profit organizations and for such internal control as managementdetermines is necessary to enable the preparation of financial statements that are free from materialmisstatement, whether due to fraud or error.

Auditor's ResponsibilityOur responsibility is to express an opinion on these financial statements based on our audit. We conducted ouraudit in accordance with Canadian generally accepted auditing standards. Those standards require that wecomply with ethical requirements and plan and perform the audit to obtain reasonable assurance about whetherthe financial statements are free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in thefinancial statements. The procedures selected depend on the auditor's judgment, including the assessment ofthe risks of material misstatement of the financial statements, whether due to fraud or error. In making those riskassessments, the auditor considers internal control relevant to the entity's preparation and fair presentation ofthe financial statements in order to design audit procedures that are appropriate in the circumstances, but not forthe purpose of expressing an opinion on the effectiveness of the entity's internal control. An audit also includesevaluating the appropriateness of accounting policies used and the reasonableness of accounting estimatesmade by management, as well as, evaluating the overall presentation of the financial statements.

We believe that the audit evidence we have obtained in our audit is sufficient and appropriate to provide a basisfor our audit opinion.

OpinionIn our opinion, these financial statements present fairly, in all material respects, the financial position ofCanadian Clay and Glass Gallery as at March 31, 2018 and the results of its operations and its cash flows for theyear then ended in accordance with Canadian accounting standards for not-for-profit organizations.

Guelph, Ontario Chartered Professional AccountantsMay 24, 2018 Licensed Public Accountants

Page 3


CANADIAN CLAY AND GLASS GALLERY

STATEMENT OF FINANCIAL POSITION

AS AT MARCH 31, 2018

2018 2017

A S S E T S

CURRENTCash $ 142,301 $ 71,290Accounts receivable 51,928 47,504Prepaid expenses 5,966 8,903

200,195 127,697

PROPERTY AND EQUIPMENT (note 4) 17,190 28,332

$ 217,385 $ 156,029

L I A B I L I T I E S

CURRENTAccounts payable and accrued liabilities $ 64,008 $ 58,640Government remittances payable 17,298 18,374Current portion of deferred revenue (note 6) 85,886 68,742

167,192 145,756

DEFERRED REVENUE (note 6) 11,059 20,431178,251 166,187

N E T A S S E T S

ACCUMULATED SURPLUS (DEFICIT) 39,134 (10,158)

$ 217,385 $ 156,029

APPROVED ON BEHALF OF THE BOARD:

_____________________________ Director

_____________________________ Director

See notes to the financial statementsPage 4


STATEMENT OF REVENUES AND EXPENDITURES AND CHANGES IN NET ASSETS

FOR THE YEAR ENDED MARCH 31, 2018

2018 2017

REVENUESCommunity support $ 311,491 $ 258,458Retail sales 270,481 284,351Government grants (note 7) 188,995 205,563Building maintenance contribution (note 5) 123,746 121,969Education programs 51,290 62,756Facility rentals 22,014 30,444HST recoveries 14,614 15,409Amortization of deferred revenue for property

and equipment funding 9,372 5,219Exhibitions and other 4,053 5,451

996,056 989,620

EXPENDITURESSalaries 416,193 395,518Retail 175,115 187,457Building maintenance (note 5) 123,746 121,969Professional and contract fees 49,372 39,052Exhibitions 36,836 57,462Office 33,761 32,235Awards and related expenditures 32,455 38,087Development 20,542 21,036Promotion 20,120 30,402Amortization 11,142 7,646Education programs 10,280 19,831Facility rentals 7,854 14,255Insurance 7,409 6,357Collection 1,939 13,124

946,764 984,431

EXCESS OF REVENUES OVER EXPENDITURES

for the year 49,292 5,189

ACCUMULATED DEFICIT, beginning of year (10,158) (15,347)

ACCUMULATED SURPLUS (DEFICIT), end of year $ 39,134 $ (10,158)


22




2018 2017



996,056 989,620


946,764 984,431









2018 2017



996,056 989,620


946,764 984,431








STATEMENT OF CASH FLOWS


2018 2017

CASH PROVIDED BY (USED IN) OPERATING ACTIVITIESExcess of revenues over expenditures for the year $ 49,292 $ 5,189Items not requiring an outlay of cash

Amortization 11,142 7,646Amortization of deferred revenue for property and

equipment funding (9,372) (5,219)51,062 7,616

Changes in non-cash working capitalAccounts receivable (4,424) 6,015Prepaid expenses 2,937 (4,385)Accounts payable and accrued liabilities 5,368 (20,342)Government remittances payable (1,076) 4,489Deferred revenue 17,144 (36,467)

71,011 (43,074)

CASH USED IN INVESTING ACTIVITIESAdditions to property and equipment 0 (5,331)

NET INCREASE (DECREASE) IN CASH 71,011 (48,405)

CASH, beginning of year 71,290 119,695

CASH, end of year $ 142,301 $ 71,290





2018 2017



996,056 989,620


946,764 984,431






24


NOTES TO THE FINANCIAL STATEMENTS


1. NATURE OF ORGANIZATION

Canadian Clay and Glass Gallery is a federally incorporated not-for-profit organization withoutshare capital and is a registered charity under the Income Tax Act. Canadian Clay and GlassGallery is exempt from income tax. Its purpose is to foster interaction among artworks, artists andcommunity.

2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

The financial statements have been prepared in accordance with Canadian accounting standardsfor not-for-profit organizations and include the following significant accounting policies:

(a) CASH AND CASH EQUIVALENTS

Cash and cash equivalents include deposits held at a major financial institution and short-term investments with a term to maturity of three months or less at the date of acquisition.

(b) PROPERTY AND EQUIPMENT

Property and equipment are recorded at cost and amortized on the basis of theirestimated useful life using the following methods and rates:

Furniture and fixtures - 20 % declining-balance basisEquipment - 20 % declining-balance basisComputer hardware - 4 years straight-line basisLeaseholds - 10 years straight-line basisComputer software - 5 years straight-line basis

(c) IMPAIRMENT OF LONG-LIVED ASSETS

Long-lived assets are tested for recoverability whenever events or changes incircumstances indicate that their carrying amount may not be recoverable. An impairmentloss is recognized when the carrying value exceeds the total undiscounted cash flowsexpected from their use and eventual disposition. The amount of the impairment loss isdetermined as the excess of the carrying value of the asset over its fair value.

(d) USE OF ESTIMATES

The preparation of financial statements in conformity with Canadian generally acceptedaccounting principles for not-for-profit organizations requires management to makeestimates and assumptions that affect the reported amounts of assets and liabilities, thedisclosure of contingent assets and liabilities at the date of the financial statements andthe reported amounts of revenues and expenses during the year. Significant areasrequiring management's estimates include the determination of the useful lives ofproperty and equipment. Actual results could differ from those estimates.

(e) CONTRIBUTED MATERIALS AND SERVICES

The organization derives a benefit from members acting as volunteers and directors.Since these services are not normally purchased by the organization, and due to thedifficulty of determining their fair value, donated services are not recognized in thefinancial statements. Contributed goods, including gifts in kind and donations of art, arealso not recognized in these financial statements, except for building maintenance, whichis described in the commitments note (note 5).

Page 7





2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (continued)

(f) FINANCIAL INSTRUMENTS

Measurement of financial instrumentsThe organization initially measures its financial assets and liabilities at fair value, exceptfor certain non arm’s length transactions.

The organization subsequently measures all its financial assets and financial liabilities atamortized cost.

Financial assets measured at amortized cost include cash and accounts receivable.

Financial liabilities measured at amortized cost include accounts payable and accruedliabilities and deferred revenue.

ImpairmentFinancial assets measured at amortized cost are tested for impairment when there areindicators of impairment. If an impairment has occurred, the carrying amount of financialassets measured at amortized cost is reduced to the greater of the discounted futurecash flows expected or the proceeds that could be realized from the sale of the financialasset. The amount of the write-down is recognized in net surplus. The previouslyrecognized impairment loss may be reversed to the extent of the improvement, directly orby adjusting the allowance account, provided it is no greater than the amount that wouldhave been reported at the date of the reversal had the impairment not been recognizedpreviously. The amount of the reversal is recognized in net surplus.

(g) COLLECTION

On the statement of financial position, the organization does not report the cost, nor theestimated fair market value, of the collection which consists of artwork.

(h) REVENUE RECOGNITION

The organization follows the deferral method of accounting for contributions.

Restricted contributions, which are certain donations, grants and designated funds, arerecognized as revenue in the period in which the related expenses are incurred. Anyamounts not recognized as revenue in the period are reported as deferred revenue.

Deferred revenue includes facility rentals booked for the next fiscal year, operating grantsreceived in advance of related expenses and property and equipment acquisition grantsthat are deferred and reported as revenue on the same basis as the related property andequipment are amortized.

Unrestricted contributions, which are all other revenues, are recognized as revenue whenreceived or receivable if the amount to be received can be reasonably estimated andcollection is reasonably assured.

Page 8

26




3. FINANCIAL INSTRUMENTS

Unless otherwise noted, it is management's opinion that the organization is not exposed tosignificant interest, credit, currency, liquidity, or other price risks arising from the financialinstruments.

The extent of the organization's exposure to these risks did not change in 2018 compared to theprevious period.

The organization does not have a significant exposure to any individual customer or counterpart.

Transacting in financial instruments exposes the organization to certain financial risks anduncertainties. These risks include:

Credit riskThe organization is exposed to credit risk on its cash and accounts receivable balances.

Credit risk associated with cash is minimized substantially by ensuring that the assets areinvested with a major financial institution.

Credit risk associated with accounts receivable is minimized by not having significant exposure toany individual customer as the organization has adopted credit policies that include the analysis ofthe amounts outstanding and regular review of the credit standings.

Liquidity riskLiquidity risk refers to the risk that the organization will not be able to meet a demand for cash orfund its obligations as they come due. Liquidity risk also includes the risk of the organization notbeing able to liquidate assets in a timely manner at a reasonable price.

The organization meets its liquidity requirements by monitoring cash flows from operations,anticipating investing and financing activities and holding assets that can be readily converted intocash.

4. PROPERTY AND EQUIPMENTAccumulated Net Net

Cost Amortization 2018 2017

Furniture and fixtures $ 55,957 $ 51,280 $ 4,677 $ 12,276Equipment 96,126 88,599 7,527 9,408Computer software 8,310 3,324 4,986 6,648

$ 160,393 $ 143,203 $ 17,190 $ 28,332

5. COMMITMENTS

The organization entered into a lease agreement with the City of Waterloo in fiscal 1993 to leasethe facility for ten years at the rate of $1 per year. Two of the four automatic extensions of thelease for a ten-year period have occurred.

The City of Waterloo provides support to the organization through the in-kind contribution of$123,746 (2017 - $121,969) for services relating to utilities, property insurance and buildingmaintenance, which is recognized at fair value in the statement of revenues and expenditures andchanges in balance.

Page 9





6. DEFERRED REVENUE

Deferred revenue, which consists of the unexpended portion of contributions received that relateto future periods less related expenditures, is as follows:

2018 2017

Balance, beginning of the year $ 89,173 $ 130,859Plus amount received during the year 119,478 80,742Less amount recognized as revenue in the year (111,706) (122,428)

Balance, end of year $ 96,945 $ 89,173

Current portion $ 85,886 $ 68,742Long-term portion 11,059 20,431

$ 96,945 $ 89,173

7. GOVERNMENT GRANTS2018 2017

Ontario Arts Council $ 55,908 $ 56,860City of Waterloo 50,000 50,000Canada Council for the Arts 42,000 42,000Service Canada - summer students 18,641 17,037Canadian Heritage - Young Canada Works 7,400 0Niagara Peninsula Aboriginal Area Management Board 7,046 0The Working Centre 5,000 0Ontario Arts Council - Tributaries 3,000 17,218Ontario Trillium Foundation 0 22,448

$ 188,995 $ 205,563

8. ENDOWMENT FUND

The Canadian Clay and Glass Endowment Fund ("Endowment Fund") is established at theKitchener and Waterloo Community Foundation. Under the terms of the Endowment Fund, thecapital cannot be withdrawn and only the related income can be distributed to the Gallery.

The market value of the Endowment Fund at December 31, 2017 was $495,675 (December 31,2016 - $483,070). The distribution from the Endowment Fund during the year was $18,800 (2017 -$18,400).

Page 10

28

DEVELOPMENTREPORT

I am pleased to be reporting on the successes of the Gallery’s development efforts during our 2017-2018 year.

INDIVIDUALSMuch of the Gallery’s financial success is due to generous individuals from our community. We saw an increase in memberships over the previous year and are grateful to our many new members as well as our returning members, some of whom have been supporting the Gallery for 25 years.

When we learned that RBC had declined to sponsor the 2017 Award for Glass, a small group of dedicated Gallery supporters made it possible for us to present the Award this past year. This was especially significant because it was the 10th year of the Award for Glass, completing a decade of support for emerging Canadian glass artists.

SPECIAL EVENTSThe Gallery organized a variety of special events throughout the year for our volunteers, members, donors and patrons. Volunteers and Donors at the Supporter level and above enjoyed a special dinner at the Gallery on June 10. This annual event recognizes the many important contributions made to the Gallery.

In July the Gallery hosted a performance of Sweat by the Bicycle Opera Project. In October, patrons travelled by bus to the Gardiner Museum in Toronto to see the Steven Heinemann exhibition and to Williams Mill to visit studios of a number of artists including some whose work is featured in the Gallery Shop. In November, we hosted Sip, Shop and Sparkle, a special event for pre-Christmas shopping.

BUSINESSES AND FOUNDATIONS Once again, in 2017-2018, the Gallery was fortunate to receive support from many local businesses and foundations. Supporters like CIBC Wood Gundy, Ontario Teachers’ Insurance Plan and the Rotary Club of Kitchener Grand River funded various aspects of our public programming this year. We are grateful for ongoing support from Spaenaur and the Waterloo Potters’ Workshop. Long-time foundation supporters, Musagetes Fund and Good Foundation Inc., sponsored exhibitions in our 2017-2018 year.

GALAThe Gala Committee, led by Co-Chairs Meghan Whitfield and Jerre Davidson, staged a dazzling ‘Silver Anniversary Edition’ Gala on March 24, 2018. City of Waterloo Mayor, Dave Jaworsky was the Honorary Gala Chair, and Susan Cook-Scheerer served as Master of Ceremonies.

A guest at The Clay & Glass Gala excitedly receives her Balloon Pop prize. Photo by Tomasz Adamski.

LEFT TO RIGHT: The Clay & Glass Gala Guests Ross Wells, Board Chair Tom Mennill, Judith Stephens-Wells and Executive Director Bill Poole. Photo by Tomasz Adamski


We are grateful to our Gala sponsors, including many returning sponsors: Miller Thomson, Scotiabank, KPMG, Heffner Lexus, LEAP Real Estate Services and Auburn Developments. A number of new Gala sponsors added their support this year, including Dentistry in Waterloo, Bank of Montreal and Ottawa Heritage Dental.

The Gala’s success would not be possible without the generosity of our artists, local businesses and individuals and all those who attended. As always, everyone had fun while supporting the Gallery. Thanks to the efforts of all concerned, the Gala contributed $48,000 to our bottom line for 2017-2018.

25TH ANNIVERSARYAs detailed in Bill’s report, in 2017-2018 we launched our 25th Anniversary Campaign and have seen tremendous generosity from our community already.

The Gallery was the successful recipient of a grant from the Ontario Cultural Attractions Fund, which is supporting our 25th Anniversary exhibitions and activities. Part of the Anniversary project that we began in 2017-2018 was the ambitious task of researching past artists, volunteers, board members, staff, donors and members in an effort

to reconnect with as many as possible for the 25th Anniversary celebrations. We are grateful to our summer students and interns, Chloe Blair, Kara Lyon and Katie O’Connor, for their contributions to this project.

In closing, I would like to thank Lynda Abshoff for her work as Director of Development in helping the Gallery to achieve its goals. I would also like to thank Shelley Crawford for her contributions as Chair of the Development Committee over the past few years.

As the Gallery celebrates its 25th Anniversary, we are grateful to all of the supporters who have helped us reach this milestone and who are looking forward with us to the next 25 years.

Katherine RonzioMANAGER OF DEVELOPMENT & MARKETING

Artworks from the Trajectories exhibition: Background: Delusion #2 (a.k.a. Face of Liberty), 2013. Brad Turner; Foreground: Redundant Vessels series, 2017. Brad Turner. Photo by Karl Griffiths Fulton.

30


OPERATIONS

City of Waterloo

Ontario Arts Council

Canada Council for the Arts

Kitchener Waterloo Community Foundation

– Canadian Clay and Glass Gallery Endowment Fund

– Keith and Winfred Shantz Fund for the Arts

AWARDS

Winifred Shantz Award for Ceramics: The Keith and Winifred Shantz Fund for the Arts

The Award for Glass was supported by a group of Gallery Supporters

EXHIBITIONS

Good Foundation Inc.

Kitchener Waterloo Community Foundation

– Musagetes Fund

SUPPORTERS 2017-2018EDUCATION

CIBC Wood Gundy /Children’s Aid Foundation

Ontario Teachers Insurance Plan

Rotary Club of Kitchener-Grand River

SPECIAL PROJECTS

Canada Summer Jobs

Ontario Cultural Attractions Fund

Rotary Club of Kitchener

Young Canada Works

CORPORATE AND FOUNDATION PARTNERS

KPMG Foundation

Spaenaur Inc.

DONORSFOUNDERS’ CIRCLE

Randall Howard

& Judy McMullan

Tom & Jocelyn Mennill

Bill Poole & Louise Dzuryk

The Estate of

J. Douglas McCullough

Anonymous (7)

CHAIRMAN’S CIRCLE

Jan & Alannah d’Ailly

Holde Gerlach

Louise MacCallum

& Michael Barnstijn

Ann Roberts

DIRECTOR’S CIRCLE Marilyn Allen

Marina Barnstijn

Doug & Aggie Beynon

Shelley Crawford

Roger & Cathy Farwell

Lori & Peter Gove

Terry O’Neill & Tara Cooper

Rebecca & John Short

Peter Sims

Meghan Whitfield

& Dean Hughes

Waterloo Potters’ Workshop

CURATOR’S CIRCLE

Carmeta Abbott

Lynda and Michael Abshoff

Jerre Davidson

Soheila Esfahani

Armin & Carol Froelich

Karen Golets-Pancer

Charmayne & Barry Greig

George Harper

Neil Sarginson & Alison Hett

Elvan & Ozgur Suzer

Ross Wells & Judith

Stephens Wells

Nola & Robert Williams

Anonymous (3)

PATRON

Johanna Botari

& Adam Benjamin

Don Druick & Jane Buyers

Senta Ross

Stephanie & James Walker

Mark & Betsy Zanna

Anonymous (2)

SUPPORTER

Kimberly Barber

Sharon Brown

Marg & Oleg Feldgajer

Rick Haldenby

& Rosemary Aicher

Fatma Husein

& Rafael Sorkin

Mary Jackson

Freda Millar

Bernd & Sandra Mueller

Frank & Marie Nowak

Katherine Ronzio

John & Marcia Shortreed

Ivor & Renee Simmons

Anonymous (4)

FRIENDS

Pam & Ed Beharry

Louise Brzustowski

Margaret Genovese

John & Helga Hobday

Howard & Giselle Holst

Betty Anne Keller

Joy Kramer

Martin** & Charlotte Levene

Anna Sabados

Jenifer Sibdhannie

Barbara Yeaman

Elaine Zink

& Stephen Thomson

Anonymous (4)

GIFTS MADE IN MEMORY OF

Pat Sloan

EMPLOYEE MATCHING FUNDS

Bell Canada

for Anne Gilchrist

**Deceased

32

ARCHITECTURAL

Eric Haldenby

DIGITAL PROJECTS

Dave Barr

LEGAL

Miller Thomson

GALLERY SHOP

Chloe BlairAndrea HildebrandDiane KoebelLaura Moore

EDUCATION CONTRACT

TEACHERS & GUEST

ARTISTS

Eleanor AnglinSarah BadranRebecca BairdAmrita CheppudiraPhilip CoteJudy DonaldsonBreanna GowerEmma SmithMark Yungblut

VOLUNTEERS

SPECIAL THANKS

RECEPTION

Lynne Doyle

Anne Gilchrist

Louise Grisdale

Shirley Hooper

Freda Millar

Gisela Neumann

Jonathan Plummer

Jane Pyette

Al & Wyn Rosenberger

Nola Williams

Barbara Yeaman

Sarah Yu

ART CAMP VOLUNTEERS

Nevra Gursoy

Luna Keogh

Melia Keogh

Madeleine Melloul

Justin Ng

Hansi Srivijayasri

John Yang

OTHER VOLUNTEERS

Tristan de Oliveira

Lois Sander

25TH ANNIVERSARY COMMITTEE

Aggie Beynon

Judy Donaldson

Tom Mennill (Chair)

Terry O’Neill

Chris Snedden

COLLECTIONS & ACQUISITIONS COMMITTEE

Aggie Beynon

Jane Buyers (Chair)

Jerre Davidson

Nick de Koning

Soheila Esfahani

Ann Roberts

DEVELOPMENT COMMITTEE

Shelley Crawford (Chair)

George Harper

Tom Mennill

Linda Zensner

GALA COMMITTEE

Pat Arsenault

Jerre Davidson (Co-Chair)

Louise Dzuryk

Meaghan Middleton-Firman

Wyn Rosenberger

Jenifer Sibdhannie

Elvan Suzer

Lauren Weber

Meghan Whitfield (Co-Chair)

FINANCE COMMITTEE

Marilyn Allen (Chair)

Tom Mennill

Neil Sarginson

Meghan Whitfield

PREPARATORS

Michael AmbedianJudy DonaldsonKaren FletcherDavid GermanSandy Gordon (Lead Preparator)Stephen HawesLucia LakotosVeronica MurawskiNadine SimecHannah Veiga

CANADA SUMMER JOBS

STUDENTS

Grace BoileauIoana DragomirAaron LevantKara LyonAmelia Myles

INTERNS

Chloe BlairKristopher Hewitt Mahya KahrobiKatie O’Connor

NOMINATING COMMITTEE

Soheila Esfahani

Tom Mennill

Rebecca Short (Chair)

MARKETING TASK FORCE

Terry O’Neill

Rebecca Short

Elvan Suzer

Jim Valentine

Meghan Whitfield

VISION TASK FORCE

Carrie Curtis

Jan d’Ailly (Chair)

Nick de Koning

Rick Haldenby

Ryan Mounsey


GALAGOLD SPONSORS

Miller Thomson Lawyers

Scotiabank Commercial

Banking/ Scotia Wealth

Management

SILVER SPONSORS

Heffner Lexus

KPMG LLP

BRONZE SPONSORS

Auburn Developments Inc.

Dentistry in Waterloo

Leap Real Estate Services

ADDITIONAL SPONSORS

Arkay Printing

Bank of Montreal

Boston Pizza

Centre in the Square

Contrabean

Dream Team Video

Productions

Ottawa Heritage Dental

Pat Arsenualt – Mobile

Registered Reflexologist

Pulvino Wine

Public Catering

Stephen & Matthew Poole

Waterloo Region Record –

Community Partnerships

Program

DONORS Artists

Monica Adamo*

Rosemary Aicher*

Arte Vargas Glass Blowing

Studio*

Aggie Beynon*

Blue Iris Studios*

Michelle Bosveld

Carol Bradley*

Jay Burn*

Jane Buyers

Lynda Carr*

Anne-Marie Chagnon*

Marianne Chemla*

Marianne Chenard *

Shu-Chen Cheng*

Lynn Chidwick*

Chari Cohen*

John Cooper*

Abigail Corbin*

Jerre Davidson*

Carolyn Dawn Good*

Judy Donaldson*

José Drouin*

Soheila Esfahani

Renato Foti*

Berting Glass*

Stephen Hawes*

Robert Held*

Mary Ann Helmond

Julia Hillyer*

Delia Hummel

Alexi Hunter*

Brad Jesson*

Gabrielle Kauffman*

John Kepkiewicz*

Victoria Kirk*

Heather Konschuh*

Kimberly Kropf*

James Lavoie *

Dianne Lee*

Jean Loney

Lesley McInally*

Heidi McKenzie*

Marlen Moggach*

Joseph Panacci*

Jeannie Pappas *

Pauline Pelletier*

Jan Phelan*

Natalie Prevost*

Bill Reddick*

Julia Reimer

Ann Roberts

Jaci Ryan*

Shay Salehi*

Deborah Sanderson*

Virginia Smith*

Jack Sures*

Elvan Suzer

Jessie Tesolin*

Steve Tippin*

OPPOSITE: Can’t stop thinking about love and my body, 2017. Ito Laïla Le François. Part of Trajectories exhibition. Photo by Karl Griffiths Fulton.

Artist Laurie Spieker and volunteers assist guests in creating their own fused-glass artwork at The Clay & Glass Gala. Photo by Tomasz Adamski.

34

Artists Ctd.

Ida Tong

Rhonda Uppington*

Margriet Van Erp - MVE

Designs*

Mariel Waddell Hunter*

Nicole Waddick*

James Wardhaugh*

Gabriela Wilson*

Heather Wood*

Ann Wylie-Toal*

Simona Zac

*Gallery Shop Artists

Individuals

Aggie Beynon

Shelley Crawford

(& Friends)

Jerre Davidson

Anne Gilchrist

Mayor Dave Jaworsky

Tsukiko Keogh

Tom Nagy

Ann Roberts

Maddie Whitfield

Barbara Yeaman

Businesses

Aesthetica Face and Body

Skin Care Clinic

Art Gallery of Ontario

Apollo Cinema

Belgian Nursery

Bilalo Hair Artistry & Spa

Blackshop Restaurant &

Wine Bar

Block Three Brewing Co.

Cambridge Art Galleries

Cambridge Butterfly

Conservatory

Charmed Flowers & Gifts

Colour Paradise

Greenhouses

Creative Landscape Depot

Delta Waterloo by Marriott

International

Drayton Entertainment

Dutch Mill Flower Shop

Elements Hair

Ennio’s Pasta House

Esta Chocolates

Ethel’s Lounge

Fad Hair Studio

Gardiner Museum

Gina’s

Grand Philharmonic Choir

Hauser Co. Stores

IC Flowers

Janell Rolston | The Natural

Way Health Clinic

Julia Flowers

King Street Trio Uptown

KW Symphony

Lee Valley Waterloo

Lillies White Floral Shop

Little Mushroom Catering

LOVE.YOU Salon & Spa

Mirvish Productions

PetPawZazz Grooming Spa

Public Kitchen & Bar

Red House

Rumners Wobble

Samsonite Canada

Seven Shores Community

Café

Sole Restaurant & Wine Bar

Stratford Festival

Stratford Summer Music

The Berlin

The Buff Mom

The Jane Bond

The Keg Steakhouse + Bar

The National Ballet of Canada

THEMUSEUM

Timeless Café & Bakery

Total Skin & Body

Vincenzo’s

Waterloo Regional

Police Service

WestJet

Words Worth Books

Zehrs Beechwood

Zehrs Laurentian

GALA VOLUNTEERS

Chloe Blair

Blake Bodiam

Jennifer Collins

Christina Di Paola

Ron Donaldson

Edie Geistl

Anne Gilchrist

Breanna Gower

Stephen Hawes

Kristopher Hewitt

Dean Hughes

Emily Jull

Mahya Kahrobi

Luna Keogh

Melia Keogh

Diane Koebel

Kimberly Kropf

Kara Lyon

Beverly McNabb

Freda Millar

Jayne Pyette

Wyn Rosenberger

Al Rosenberger

Claire Sandor

Nancy Schnarr

Laurie Spieker

Audrey Spieker

Jess Spieker

Michael Torreiter

Nola Williams

Bob Williams

Barbara Yeaman

Linda Zensner

GALA

Melissa Pulvermacher of Pulvino Wine (center) treats guests to a wine tasting at The Clay & Glass Gala. Photo by Tomasz Adamski.


Carmeta Abbott

Lynda & Michael Abshoff

Sheila Ager

Rosemary Aicher

& Rick Haldenby

Marilyn Allen

Edward & Elizabeth

Appleyard

Pat Arsenault

Dave & Ann Ashberry

Thomas & Roswita Ball

Kimberly Barber

Rennan Barkana

Andrew Barker

Marina Barnstijn

Lynn Bebenek

Pam & Ed Beharry

Doug & Aggie Beynon

Pamela Bierstock*

Marie-Josee Boily Sweeny

Paul Bosch

Johanna Botari

& Adam Benjamin

Doreen Brisbin

James Brown

Sharon Brown

Louise Brzustowski

Don Druick & Jane Buyers*

Daniel Cabena

Von Chaleunsouk Marsden

Maureen Chapman

Shirley Clifford

Thomas Connelly

& Duncan Campbell

Gale Coschi

Shelley Crawford

Jan & Alannah d’Ailly

Jerre Davidson

Liz Degutis

Nicholaus de Koning

Margo Delaine

Carolyn Dix

Karin Dobbs

Kathi Dodson

Judy & Ron Donaldson

Martin Dowding

Martin Dziak

Susan Enns

Soheila Esfahani

Cheryl Ewing

Roger & Cathy Farwell

Oleg & Marg Feldgajer

Alan Filewod

Kathryn Forler

Armin & Carol Froelich

Cindy Gaffney

Holde Gerlach

Anne Gilchrist*

Holly Gnaedinger

Karen Golets-Pancer

Jeffrey Goodman

Lori & Peter Gove

Charmayne & Barry Greig

Frank & Louise Grisdale

Don Gummerson

Marleen Guttensohn

Kevin Hare

George Harper

Patricia Heels

Anne Henderson

Eric & Maria Hentschel

Catherine Hildebrand

Barbara Hill

Roger Hill

Tracy Hodson

Shirley Hooper

Randall Howard

& Judy McMullan

Lynn Howlett

Fatma Husein

& Rafael Sorkin

Mary Jackson

Dave & Jan Jaworsky

Robert Jekyll

Erik & Sarah Katvala

Rein Katzsch*

John Kepkiewicz

Nicole Keshav

David & Cindy Kibble

Joy Kramer

Martin & Charlotte Levene

Janet Littlejohn

David Lubell

Louise MacCallum

& Michael Barnstijn

Joan Magazine

Catherine Marshall

Sandi McBride

Craig McKay

John McMahon

Tom & Jocelyn Mennill

Freda Millar*

Bernd & Sandra Mueller

Sharon Mylod

Hafsa Nadeem

Wilhelm Nassau*

Michael Nethery

Judith Nicholson

Frank and Marie Nowak

Terry O’Neill & Tara Cooper

Karen Peckan

George & Dora Pepall

Jonathan Plummer*

John Pollock*

Bill Poole & Louise Dzuryk

Robert Reid*

Bonnie Rimmer

Ann Roberts*

Katherine Ronzio

Al & Wyn Rosenberger

Senta Ross

Paul & Paula Rostrup

Mercedes Rowinsky

Ana Sabados

Lois Sander

Christalyn Sangary

Shelagh Santi

Neil Sarginson & Alison Hett

Marilyn Schaub

Thomas Schmidt

Ljubinka Segedi

Peter Shannon

& Tanja Tudhope

Lisa Sheinin

Rebecca & John Short

John & Marcia Shortreed

Ivor Simmons

Janis Simpson

Peter Sims*

James Skidmore

Amanda Smerek

Caitlin Smith

Chris Snedden

Anne Steele

Ross Wells & Judith

Stephens Wells

Elvan & Ozgur Suzer

Anna-Marie Teasdale

Robert Tetu & Cora de Vries

Bertha Thompson

Cathy Thomson

Kristin Trotter

Kenneth Tucker

Sachin Vaidya

Karin Voisin

Pat Wainwright

Stephanie Kirkwood Walker

Matthew & Ann Walsh

Patricia Weber

Graham & Pauline Westmacott

Meghan Whitfield & Dean Hughes

Joel Wiesenfeld

Nola & Robert Williams

Deborah Wills

Lindsay Woodside

Douglas Wright*

Barbara Yeaman*

Mark & Betsy Zanna

Linda Zensner

Yamin Zhou

Elaine Zink & Stephen Thomson

*Lifetime Member

MEMBERS

Canadian Clay & Glass Gallery25 Caroline St N Waterloo, Ontario(519) 746-1882www.theclayandglass.ca@CdnClayandGlass

Front Cover: The Medicine Ravens, 2004. Ann Beam. Part of the Cultural Topographies exhibition. Collection of the Canadian Clay & Glass Gallery. Purchased with the support of the Canada Council for Arts Acquisition Assistance Program and Elizabeth L. Gordon Art Program in 2005. Photo by Toni Hafkenscheid.

Back Cover: Promises and Lies: Keeping Score, 2016. Cheryl Wilson Smith. Part of Trajectories exhibition. Photo by Karl Griffiths Fulton.

with an emphasis on canadian artists, the gallery€¦ · clay & glass gallery has worked...

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