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NOT FORKCHOPS 2013

Lana Filippone was our 2013 winner!

PROJECT STATEMENT | These whimsical Cob Holders take inspiration from the summer tradition of eating out-of-doors.  Whether enjoying a meal in cottage-country, the beach or a downtown patio – eating outside brings family, friends and neighbors together and makes it ok to play with our food!  An icon of summer; corn-on-the-cob celebrates the peak of the season as it ushers in the next.  These fanciful pieces bring delight to our shared natural kitchen.

Lana’s Triceratops & T-Rex cob holders are now available for pre-order!

 

PROJECT STATEMENT | rcboisjoli has created a small porcelain vessel that features a built in pierced porcelain strainer. A growing trend among creative people is a return to individual urban gardening. Growing one’s own food has been a staple for generations and until recently is was seen as normal and necessary. The smaller strainer and serving bowl allows the user to delicately rinse and display the fruits of their own labour efficiently and effectively. The small scale of the bowl allows a small harvest, common amongst urban farmers, to be put on display without dwarfing the items.

 

PROJECT STATEMENT | They say that the root cause of illnesses is due to improper circulation in particular from the central nervous system.  After my experiences seeking chiropractic care and engaging in yoga/meditation activities, I’ve taken great care to mobilize my spine to promote a healthy living. Each distinct vertebrate which makes up the spinal column is often overlooked as an essential part of a healthy lifestyle.  Thus my work is inspired by the vertebral column and my fascination of its structural properties.  Each vessel is designed to reference an articulating vertebra, which when nestled one on top of each other forms the structural characteristic of a spine.

 

PROJECT STATEMENT | Bento Box | These ceramic plates consider the serving style of Japanese cuisine and function similarly to a bento box by accommodating for a variety of side dishes.  Subdivided into 5 compartments, each plate is handmade into a different pattern, which allows the arrangement of food to become the focal point of any table.

 

PROJECT STATEMENT | Tea holds a particularly significant place in our collective cultural identity as both a constant and a mediator. The ceremonial ritual surrounding tea drinking not only transcends many cultures, but also form. From harvest to practice, the final rendition of tea is ultimately presented through the object medium: a teacup. Here, the teacup has been reinterpreted to encapsulate the historical cultural references of tea that also have shaped Canada – from the super ornamentation of British high tea to the simple yet complex routine of a Japanese tea ceremony.

 

PROJECT STATEMENT | Much like doughnuts and dumplings, sprinkles can be found in most every culture. Each with their own use, name and tradition: The Dutch eat hagelslag on toast, Indians eat Saunf to sweeten the breath, and Renaissance Italians used to launch candy confetti at weddings. It is said that an English rector brought the idea of throwing rice at weddings to the UK back from India in the late 1800’s.
These pigeon birthday candle holders hope to playfully remind us of the rich history of cultures influencing each other. In the spirit of the theme of this show, “Not Fork chops” the porcelain birthday cake candle holders are an homage to this rich cultural exchange of ideas, traditions and practices. Much like pigeons will eat rice confetti at weddings, these miniatures aim to eat the sprinkles on your cake.

 

PROJECT STATEMENT | PORTION DISTORTION | A set of plates designed to aid users in determining proper portion allocation when plating food. The individual graphics were designed based on standard nutritional information to display the correct portion sizes and act as a visual guide when plating food. A set of four plates depicts four common proteins including fish, poultry, beef and soy.

 

PROJECT STATEMENT | TABLE SERVICE | Table Service is an adaptable collection of serving accoutrements fit for the diversity of dishes and experimentation seen in today’s dinner gatherings. More and more, modern dinner parties have become a relaxed and collaborative ritual focused on sharing experiences and cooking styles with friends and family. Traditional fine china and polished silver may not always be a suitable accompaniment to the variety of cuisine explored or to the often-spontaneous nature of this dinner setting.
Table service is a collection of ceramic bowls, felt trivets and a wooden serving platter that are arranged and stacked upon a central dowel. It can be used all at once or individually as needed. Table Service quickly becomes a colourful and adaptable backdrop to a modern meal, whether it’s homemade dim sum on the weekend or an evening of French cooking and cheeses.

 

NOT FORKCHOPS 2012

Dawn Petticrew was our 2012 winner!

PROJECT STATEMENT | Inspired by the excessive ornamentation of the Baroque period, Petticrew’s works engage the viewer in considering the absence of nature in our everyday lives. In our modern/urban world, we have become physically disconnected from the very environment which sustains us. This absence of connection creates a sense of longing and desire. Through these works, a more mindful consideration to nature is suggested. Broadly representing nature, the animal forms attract and invite the viewer to further inspect, to better understand their function beyond their beauty. Vintage molds are used to create the slip cast animal forms. Although the resulting pieces have a soft appearance, they may evoke a subtle, discomforting feeling by using these are pieces in our homes, it is hoped that the viewer is reminded of the important human connection with nature, what sustains us and what needs to be celebrated.


 

PROJECT STATEMENT | Rcboisjoli hopes to recreate and re-evaluate the common stainless steel stackable lunch containers often associated with Indian cuisine. Rendering this new form in porcelain, they will create a new vocabulary for lunch accessories, without losing the basic and important functionality. Following suit, the new vessels are stackable, graduated and lidded, but move beyond the regular, with a refinement of materials. Rcboisjoli hopes to be functional with out being ubiquitous.

 

PROJECT STATEMENT | I am interested in presenting a series of stools that reflect a personal narrative and allude to Canada’s post war agricultural immigration. In the 1950s, My grandparents, my father and his brother and sister left Holland with the promise of plentiful land to farm in Canada. They established themselves as dairy farmers in Nova Scotia, and raised 13 children in Canada. Native Canadian wood species were used in the fabrication of the stools, and the traditional cobalt blue that characterizes Dutch Delft ceramic painting, is alluded through colour, pattern, or form, in each of the stools. It is this idea of migration, cross cultural exchange, decorative interpretation and family history that provided the basis of this exploration and experiment.

 

PROJECT STATEMENT | Heyday design has created a series of porcelain containers from well-used plastic take-away tubs, referencing the competing cultures of disposability and reuse. Recognizable and utilized by all without discrimination, these yogurt-type containers often outlive their intended single-use; they can be regularly found, clean and stacked, in people’s cupboards, freezers, basements or garages. When transformed into porcelain, these vessels offer us a new, strangely elegant, type of permanence, crinkly tape labels and all.

 

PROJECT STATEMENT | For the Not Forkchops show, I  designed a series of fender ornaments for commuter cyclists. Borrowing from the practice of hood-ornamentation on cars, these figurines live on the front fender of bicycles fearlessly leading the way. We tend to ornament cars with animals symbolic of power and speed, like horses and jaguars. I felt the bicycle deserved symbolism from animals of a different kind, with qualities reflecting the eclectic personalities found pedaling the streets, byways and back roads of our fair cities.

 

PROJECT STATEMENT | I ate my errors… and I loved every bite of it. My guess is that I make more mistakes than the average person. I try new things and I make a lot of mistakes along the way. Sometimes learning from them, sometimes learning nothing, but always savouring. I think I got this bug from growing up in Toronto. Torontonians are no strangers to trying new things. We are descendants of adventurous risk takers.

As I experiment with formulas to create an edible and functional plate, my studio looks more like a laboratory than a kitchen, with bags of flour lying scattered between beakers, powders and stirring sticks. When I take the fractured segments home I boil  them in a pot of water then slather them with sauce. While I eat them up I feel homesick. I think about how I’ll do it differently tomorrow.

 

PROJECT STATEMENT |  As world cultures grow and expand, we are faced with the challenge of developing an infrastructure that can sustain our population. One thing we can expect is that as population increases, sow ill the scale of development, especially in urban areas. This piece aims at capturing the increasing scale found in modern development. With a variety of buildings that reflect how a metropolitan skyline expands over years of growth.

Designed as a desktop organizer, to hold a variety of stationary supplies, users would compile objects by sticking them into a range of different shaped voids created between the buildings landscapes.

 

PROJECT STATEMENT | Fieldguided and imm Living have joined forces to create a very special token for this extremely unique exhibition.  For the Not Forkchops projects, Anabela and Geoff created an exclusive promotional tote bag influenced by their previous work, but with a more personal cultural connection. Her first language being Portuguese, Anabela selected lyrics from the Tropicalia song “A Minha Menina” by the 1960s Brazilian band Os Mutantes. The moon image is a scan from an antique stereoview card, with overlaid abstracted flag-motifs as accents.