The Ceramics program offers a diverse education—from functional pottery to experimental techniques. Students study vessel, sculptural, and architectural ceramics while examining the relationships between design, materials, colour, process, and techniques.
Jewellery Design and Metalsmithing students explore the media and practices of jewellery and hollowware while engaging in critical discussions about content and form in order to create a new language of metal. Many graduates establish successful studio practices or develop commercial jewellery businesses.
The Textiles and Fashion program balances conceptual concerns with the technical and design skills required to understand the traditions of weaving, dye and print, and garment making. Students graduate with a strong toolbox of skills they can apply to a career as a designer, craftsperson, or entrepreneur.
The Craft Division is a place of theory and exploration. Through a combination of rigorous liberal arts scholarship and studio practice, you will develop traditional craft techniques and learn how your chosen discipline connects to other fields. What is the relationship between ceramics and architecture? How can textiles integrate into applied medical applications to improve lives? These kinds of cross-disciplinary questions drive and inspire Craft students at NSCAD.
All three programs encourage students to pursue individual forms of expression while thinking critically and seeking innovative solutions. Over the course of your degree, you will experiment with traditional methods, new technology, and industrial processes.
With a strong focus on entrepreneurship, studying Craft will also help you prepare for life after graduation. While many students go on to become successful artists, designers, or craftspeople, others take their versatile training and start their own businesses or embark on exciting creative careers in related fields.
Gary Markle is an Associate Professor of Fashion at the Nova Scotia College of Art and Design University (NSCAD U) at Halifax, Nova Scotia. He is currently the Chair of the Craft Division. In 2013 together with Professor Glen Hougan, Markle was awarded a two-year Canadian Institutes of Health Research (CHIR) grant to investigate design for healthy ageing. Markle’s research was focused on garments for seniors. The aim was to design clothing that maintained dignity and balanced style and functionality, resulting in continued independence for the wearer. This research culminated in “Worn Well” a community based research project in partnership with Lunenburg based Buzz Holdings (fall of 2015). SSHRC NSCAD RDF 2016 with Kim Morgan to investigate SCOBY fibre for future research-creation purposes. He also maintains a research-creation practice that focuses on site reactive instillation with materiality and community as a common thread connecting the various strands of his practice. Most recently participating in an Artist Residency with and Performance work commissioned as a collaborative work for The Floating Warren :Flotilla, Charlottetown PEI 2017.
Elena Brebenel is a Romanian-born textile artist and designer who is interested in investigating the intersections between art, craft and design, through a highly experimental and research driven practice. Elena received her MFA at the University of Kansas, USA and BA at the University of Arts ‘George Enescu’ Iasi, Romania. Elena’s work was widely exhibited including countries such as Canada, France, Italy, Portugal, Romania, UK, Uruguay and USA. She has received numerous grants and was awarded residencies at Contemporary Artists Center at Woodside (Troy, NY, USA), Kala Art Institute (Berkeley, CA, USA), The Fabric Workshop and Museum (Philadelphia, PA, USA), Can Serrat Centro de Actividades Artisticas (Barcelona, Spain), Nature, Art and Habitat Residency (Bergamo, Italy) and Contextile 2016 (Guimarães, Portugal).
In his ceramic works, Neil Forrest examines the confluence of place, architecture and historical events which determine identity. He has collaborated with architects and engineers at the University of Buffalo, Boston valley Terra Cotta and Dalhousie School of Architecture. His project Porøs at the ASU Art Museum in Phoenix/Tempe, is supported by the Norwegian Artistic Research Council. The research began with the porous nature of the clay itself and how porosity works as an expressive instrument. Other exhibitions include Overthrown at the Denver Art Museum, Ceramics and Architecture in The Netherlands, the Cheongju Biennale in Korea and Mobile Structures in Regina. Forrest received his Masters from Alfred University in New York and his BFA from Cranbook Academy in Michigan.
Rebecca Hannon is a jeweller and educator based in Halifax, Nova Scotia. In her work she investigates adornment in relation to the human form. A choice to attach an object to the body drives her to question and create stories. Cultural histories gleaned through travel, and the people she meets shape her work. Rebecca maintains an active studio practice in addition to serving as faculty at Nova Scotia College of Art & Design and her work could be seen at Musée des Beaux Arts de Montréal, Museum of Art & Design, NYC, and Racine Museum of Art over the past year.
Rory MacDonald is interested in the many roles for ceramics within the practice of craft, design and art, concentrating on the development of public audiences and spaces for contemporary ceramics. He has developed site-specific firing and new techniques for glaze applications for architecture and public space. He has exhibited nationally and internationally, participating in numerous residences including the Experimental Sculpture Factory (China) and Thematic Residency-Imanginary Places at the Banff Centre. He received his MFA from Alfred University (1999).
Pamela Ritchie creates jewellery that explores linkages between traditional craft processes, contemporary ideas of science and culture, and the language of alternative materials. Her work celebrates the concentrating effect of detail, and the paradox that an abundance of ideas, form, and pattern can be encapsulated in very small objects.
Ritchie’s work has been exhibited in over one hundred solo and group shows spanning three decades, throughout North America, Australia, Japan, Korea, and Europe, and has regularly been featured in books, catalogues, and periodicals. She has received numerous awards including the Governor General Bronfman Award and support for her work from the Canada Council for the Arts, Nova Scotia Talent Trust, the Government of Nova Scotia and many others. As an advocate for Canadian jewellery, she has lectured in Canada, England, USA, and Korea, and has served as the Canadian consultant for several European exhibitions, including Jugend Gestaltet, Ornamenta I, Schmuckszene, and Schmuck.
Kye-Yeon Son was born in South Korea and earned a BFA degree in Applied Art in 1979 at Seoul National University, Korea and a MFA in Jewellery Design and Silversmithing in 1984 at Indiana University, Bloomington, IN, USA. Son has been teaching at the NSCAD University, Halifax, Canada since 1995. As a recipient of the prestigious Saidye Bronfman Award, a Governor General’s Award in 2011 Visual and Media Arts, Canada, she has exhibited her works in numerous solo shows and group exhibitions in public and commercial galleries across Canada, the United States, Britain, Germany, Japan, and Korea.
Her jewellery/object is interpreting emotive qualities such as resiliences, fragility, and endurances can be sensed through the persistent transformation of tree branches.