SUMMER HARVEST

Solo Exhibition


L.A.Pai Gallery

13 Murray Street

Ottawa, Ontario

Canada

Willock & Sax Gallery

210 Bear Street

Banff, Alberta, Canada

November 1 -30, 2012





THE MAKINGS III - MONTH OF CERAMICS


The Makings III includes work by Ed Bamiling, Neil Liske, John Chalke RCA, Barbara Tipton, Robin Dupont, Emily Schroeder Willis, Do-Hee Sung, Priscilla Janes, Sean Kunz, and Fran Cuyler. Introducing Reed Weir from Newfoundland.

Portfolio

Makers Working in Isolation page54

500 figures in clay: volume 2

by Lark Books, Thom O’Hearn (Editor), Lark Books (Manufactured by), Nan Smith(Juror)

25 for 25

December 1, 2012 to January 11, 2013


The Rooms Provincial Art Gallery


25 for 25 was first presented to celebrate 25 years of the provincial government to collect artworks from artists working in Newfoundland & Labrador.


Mark Makers,  2011 Stoneware (plate & stand) 34 x 34 x 38 cms.                                                                        


Promotion photograph of the Art Bank Program

Collection The Government of Newfoundland & Labrador

Gloria Hickey writes about Horizon Watchers on her blog.

Gloria Hickey craft writer

Residual Echo selected to be part of the

2nd Vilnius Ceramic Art Biennial 2012

Galerija Arka, Vilnius, Lithuania


Collection Lithuanian Art Museum,

Vilnuis Lithuania

Little Blue

2013

Stoneware, linen

H47 W46 D18 cms.

Purchased by

The Government of Newfoundland and Labrador

Eighteen of Weir's figurative sculptures populate the Horizon Watchers exhibition.  They are performance artists with expressive costumes and eccentric hats–inspired by things like stinkhorn mushrooms.  They carry props and strike theatrical poses worthy of Lady Gaga or Madonna. But unlike the grand musical ladies, the sculptures are silent.  They are quietly observing the horizon and inviting us to enter an imagined but necessary dialogue. 


Gloria Hickey


Newfoundland artist Reed Weir works primarily in sculpture. She comes from an artistic family; her mother was a ceramist, her father a painter and her sister, Sky Weir, designs exhibitions including much of the Medalta museum site. In Newfoundland, she and her husband earned their living making and marketing clay whistles and other ceramic objects. Alongside the wholesale craft production, she began to make figurative sculptures, drawing inspiration from daily life in her rural community. Eventually, the sculptures replaced the production work as they gained an audience in Newfoundland and central Canada. Weir works directly and spontaneously, literally drawing with and into the clay, working various slips and oxides into the surface with a facility developed from years of production work. She came to the residency with a strong sense of what she hoped to achieve. Currently between bodies of work, she saw it as an optimum time to take risks and make changes. She wanted to expand beyond her comfort range and to 'shake herself up', challenge her assumptions and ascertain if her work is still relevant to the larger art culture. She felt her glazed surfaces were becoming too dominant and sought ways to allow the clay to say and show more. She experimented with terra sigillata and the effects of atmospheric firings. During the residency she produced a series of 'half-hour heads', expressive busts that distilled the information of the head into the most simple and direct expression. She was able to treat these with a great deal of freedom, applying a range of slips, engobes and other materials to enhance and enrich her already active surfaces and fearlessly sending them into the salt, soda or wood kiln. While not all of the experiments proved successful, embracing the accidental transformed her approach back home. She feels the residency allowed her to bring a stronger sense of play and immediacy to her new work.


Amy Gogarty is an artist and a writer based in Vancouver, Canada. She has published over 80 critical essays and reviews of visual art and recently co-edited Utopic Impulses: Contemporary Ceramics Practice (Vancouver: Ronsdale Press, 2007).

The start of something big: the Medalta International Artist-in Residence Program: Amy Gogarty experiences a residency program in Medicine Hat, Alberta, Canada.

Ceramics Art & Perception Technical, Vol. 29, 2009.

Invited Artists for 2009


Aaron Nelson - Alberta

Amy Gogarty - British Columbia

Gunda Stewart - British Columbia

Reed Weir - Newfoundland

Rob Froese - Saskatchewan

Marty Shuter -USA


excerpt...

Reed Weir receives

Madeline English Purchase Award

at LAWN’s third annual juried exhibition.

From left, Tina Dolter, co-founder of the League of Artists of Western Newfoundland; Trudy Campbell, league secretary; artist Reed Weir; Ed English, patron of the Madeline English Purchase Award, and Ken Livingstone, head of Fine Arts and chair of the Acq.

500 Animals in Clay: Contemporary Expressions of the Animal Form

by Lark Books, Suzanne J. Tourtillott (Editor), Lark Books (Manufactured by), Joe Bova (Juror)

Title: Boxer

Medium: Stoneware clay, steel

Dimensions: 52 x 84 x 29 cms.

Photographer: R Weir/David Morrish

Page 301

The Department of Prints and Drawings

11 Jun 2016 – 21 Aug 2016

How can a small university art gallery, itself a department, oversee a “Department of Prints and Drawings”? The provocative title of this exhibition is meant to prompt skepticism about the medium-based categories that still define large public collections, such as those at the National Gallery of Canada.


The exhibition is made up of contemporary works by more than 30 artists, selected from the MSVU Collection. Anna Torma’s appliquéed, embroidered and inkjet printed wall hanging incorporates drawings appropriated from members of her family. Reed Weir’s stoneware bather stands on a base with a pyrographic (wood-burned) design of Matisse-like nudes. Equally expressive and gestural is Deb Kuzyk’s underglaze floral decoration of a porcelain bowl thrown by her husband Ray Mackie. Among the works by artists with Halifax connections are lithographs by Dan O’Neill and Ericka Walker, and drawings by Lucie Chan, Ann Macmillan and Susan Wood.



msvu art gallery

Stand in Good Stead, 2012  (plate & stand), stoneware

Published on July 25th, 2008

Joan Sullivan 


The Telegram - Arts - Life - Cultural Activities

Works & in wax stone

excerpt...

The sculptures are vigorous and muscular, and present a distinctly elfin countenance - which is not to say they are impishly cute, but seriously engaged in their own otherworldly pursuits. They are often posed in pairs of figures, in settings that are both recognizable and dreamlike, giant-like atop a saltbox, maybe, or around a magical tree. Even more fantastic are the pieces that situate a man or woman standing on top of a wild creature, like an alligator, lizard or bear, in a configuration that alludes to both yin/yang balance and ego/id domination.


Weir's sculptures display a realism of stance and posture, a strength and weight of sinew and bone, and their hands are particularly delineated and lovely. Their facial features and expressions often resemble each other (even when left to a minimal hint of eyes, nose or frown). This reinforces the mythic sensibility of the pieces as a whole, that they are not based on humans and scaled down to stand on pedestals, but in fact replications of these creatures at their true size. It is this vision that can place two figures on a tarred peak in "Roof Sitters: Mother and Son," or place three impossible cards in the palm of the player in "If all Hands Were Magic."

  PROVINCIAL ART BANK PROGRAM    2016


   Image credit: Exhibition Documentation, 25 by 25.

   The Rooms Provincial Art Gallery Government of  Newfoundland and Labrador Collection.


    Artist: Reed Weir  Title: Mark Makers  Date: 2011 Medium: Stoneware


 

BOXED IN

The Rooms Provincial Art Gallery

& Craft Council of NL

St. John’s, NL

CURATOR DENIS LONGCHAMPS

Residual Echo, 2012 Stoneware, H48 x 33 x 27 cms.

Sun Reach Series now available at

L.A.Pai gallery

13 Murray St.

Ottawa, ON

Canada

Installation view Juggler L.A.Pai gallery  October 2016

The Government of Newfoundland and Labrador began the Art Bank Collection in 1984 to provide economic benefit to artists and to promote the cultural heritage of the province. Today, the Art Bank Collection is managed by The Rooms and encompasses close to 3000 works of art by over 250 Newfoundland and Labrador artists. The Government of Newfoundland Labrador provides funding to The Rooms to acquire new artworks every year. Artworks that are part of this collection may be exhibited at The Rooms, and are also installed in government offices and public buildings across the province.

Working @ ACAD Ceramics

Alberta College of Art & Design

Calgary Alberta Canada


“The opportunity for me to work in the ACAD ceramic studio this past winter semester in exchange for mentoring and demonstrations of my sculptural techniques was a most fulfilling experience for me.  I was able to develop new concepts while at the same time experimenting with clay bodies and glazes that I hadn’t used before.


The most positive aspect of my time there was being part of the general population in the studio.  This embedment facilitated many discussions with the students about my work and theirs.  We discussed concept development and approaches, story telling, display and installation for exhibition and experiences of living life as a studio ceramicist.  The openness of the department in facilitating both personal and professional development was apparent to me by the variety and quality of the students’ work.


Interaction and exchange is important throughout ones career.  It was wonderful t be part of this process in the role of mentor and as a senior artist visiting from Newfoundland & Labrador.  Once again I thank Katrina Chaytor and the ACAD Ceramics program for making this opportunity possible.”

From the ACAD Ceramics Newsletter Spring 2014 page 12


REED WEIR  

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