CRAFT AWARDS celebrate and recognize excellence, and since 1981 the program has supported over 500 emerging to established craft professionals in all disciplines. We invite you to take a closer look at the outstanding work of the 2020 Craft Awards recipients below, as well as find out more about their perspectives and processes.
We couldn’t make the Craft Awards program possible without the support of so many generous donors and contributors, and we extend our deepest thanks to the following organizations and people: The Copeland, Gregor, Mather, McPherson, Shanks, Walker, and Yung families, as well as FUSION: Ontario Clay and Glass, Noble Crafthouse, The Pottery Supply House, Tuckers Pottery Supplies Ltd., and Lacy West Supplies Ltd.
Special thanks to this year's jurors: Anahita Azrahimi, Clayton Haigh, Christina Pupo, Julie Moon, and Nithikul Nimkulrat.
Rob Raeside’s work exemplifies making the complex appear simple. His earliest exposure to glass was observing the refined shapes of mid-century Scandinavian designs from Kosta Boda and Orrefers. Raeside continues to draw inspiration from classic forms, spheres, cylinders and cones. He has an inherent knowledge of his material and through refined technique skillfully manipulates glass to create playful pieces and elegant objects. His extensive colour palate favours both subdued shades and lustrous hues.
Rob Raeside assembles his forms and shapes in configurations that are best viewed in groupings where the repeated elements, colours and contours create beautiful patterns and arrangements. Rob Raeside has been working with glass since 2008. He studied at Sir Sanford Fleming College and Sheridan College, and was accepted as an Artist-in-Residence in the Craft & Design Studio (Glass) in 2018.
Hannah Epstein (b.1985) is an artist working in textile and digital media (AKA Fyberspace). She holds an MFA from Carnegie Mellon University (2017) and a B.A in Folklore & Religious Studies from Memorial University (2009). Epstein grew up in Halifax, Nova Scotia, a cold, grey peninsula where she sought refuge indoors watching television. The sharp contrast between the saturated, colorful images on TV and the monotony of her surroundings had a big impact on the artist, and when later, she studied folklore at Memorial University in Newfoundland, she realized that TV had provided her with a visual vocabulary of cartoon and pop culture images that resonate with the folkloric tradition.
As a folklorist turned artist, Epstein is devoted to reimagining the iconography of popular culture, highlighting the cultural negotiation between bottom-up (folk-to-commodity) and top-down (institution-to-mashup) storytelling. The form of which has been a re- adoption of the traditional east coast craft of rug hooking for contemporary contexts and the use of video game technology and imagery to develop a world of characters that playfully reflects our own. Epstein’s monsters, whether crazy cats, spooky hybrid animals, or a wild-eyed, shaved-headed Brittney Spears, remind us that monsters have long been lurking in the corners of our imagination and media landscape.
Her work has been shown at The Hammer Museum, The Art Gallery of Ontario, The Textile Museum of Canada, The Long Beach Museum of Art, The San Jose Museum of Quilts and Textiles, The Museum of Contemporary Art Denver and The Rooms in St. John’s, Newfoundland. She is currently represented by Steve Turner Gallery, Los Angeles.
Originally from Seoul, Korea, Joon Hee Kim is a Canadian artist. Her work explores the human existence by examining and reconciling diverse identities and heritages, as well as the compelling forces of beauty and desire. She began her artist journey as a graphic designer working extensively as an art director, then combined her passion for design with patisserie studies as a chef, all lead to becoming intrigued with ceramics at Sheridan College. As a recipient of the Cecil Lewis Sculpture Scholarship, she completed Masters in Fine art at Chelsea College of Arts in UK before undertaking her professional practice in Europe and Japan. Brimming with personal anecdotes and engaging narratives, her work has been exhibited in USA, UK, and Germany, including a solo exhibition at the Clay and Glass gallery.
Through innovative challenges of daily life she is the recipient of many awards including Craft Ontario Council’s Volunteer Committee Emerging Professional Award, as well as the Best of Craft and Design and Best of Ceramics at Toronto Outdoor Art Fair. After receiving Canada Council for the Arts and Ontario Arts Council grants, she travelled to both national and international artistic residencies to examine her heritage within the lenses of multiple influences. Following the Banff Clay Revival Residency, she was one of six-selected artists for Canadian Craft Biennial. Then she attended the Shigaraki Ceramic Cultural Park Residence in Japan, the Ceramic Centre Residency in Berlin, and the Ceramic Artist Exchange Tandem 2019 in Neumünster, Germany.
Drawing from her experiences in art, craft, and industry, Stefanie Dueck employs traditional metalworking techniques in unconventional ways. Both functional and sculptural works are driven by process and an experimental spirit. Her explorations with metal have taken her from the Kootenay School of the Arts in Nelson, BC, to a blacksmithing apprenticeship in Southern Spain, a scholarship at the Center for Metal Arts in Pennsylvania, and over a decade of independent practice in Vancouver, BC Having recently relocated to the Sunshine Coast, Stefanie continues to create, focusing on her line of hand forged flatware, sculpture, and custom projects.
Stefanie Dueck's work has been exhibited across North America and England, and been featured in numerous publications, including American Craft Magazine, The Vancouver Sun, Azure, and Architect's Newspaper Interior. Currently, she is excited to be working with choreographer Joe Ink on a collaboration titled Dance:Craft. Other upcoming projects include a public art commission for the Qathet Regional District, utilizing reclaimed material from Powell River's old incinerator site.