Give us your feedback by filling out this short survey and you could win a $155 prize package from The Livery Shop as well as 2 Sunday passes to the Calgary Folk Music Festival. Enter by January 29th.
At every MC event, we depend on the wonderful volunteers we have to help keep things running smoothly. If you’d like to join our fabulous team of volunteers, sign up below.
We are looking for friendly, dedicated and energetic individuals to join our volunteer dream team. Positions range from admissions to photo booth assistants and more. Each volunteer will receive a volunteer t-shirt, a limited editions MC tote bag, a $10 gift certificate to the MC, a food voucher, and a photo print voucher. Commitment can be a single shift, but you are welcome to sign up for multiple shifts if you desire.
PLEASE EMAIL VOLUNTEER COORDINATOR JOSH SISON AT VOLUNTEER@MARKETCOLLECTIVE.CA FOR FURTHER QUESTIONS.
We had a wonderful 2016, thanks to all you beautiful people!
In the 189 hours of MC this year, we had 619 volunteer shifts filled, collected over 1000 pieces with Strategic Group for Project Warmth, enjoyed 12 full days of the one true Santa, and played so many games of Blokus.
Above all, you guys invested a whopping $1 512 126 into Market Collective artists this year and they keep 100% of their sales.
Click the arrow below and reminisce with us in the full Year in Review. We can’t wait for another great year with you.
Date: December 16-18, 2016
Time: Friday: 4pm – 9pm // Saturday & Sunday: 10am – 6pm
Location: 197 1st Street SW (Chinese Cultural Centre)
Admission: $5 for the weekend (Kids under 12 free)
Friday, December 16 >>> Luke Thomson & Joleen Ballendine <<< 4pm-6:630pm:
Friday, December 16 >>> Freshly Squeezed (CJSW 90.9 FM) <<< 6:30pm-9pm:
Saturday, December 17 >>> What Will the Neighbours Think? (CJSW) <<< 10am-Noon:
Saturday, December 17 >>> The Heirlooms <<< Noon:
Saturday, December 17 >>> Suffragette City CJSW <<< 1pm-3pm:
Saturday, December 17 >>> Hive Mind (CJSW) <<< 3pm-5pm:
Saturday, December 17 >>> Infilm <<< 5pm:
Sunday, December 18 >>> Future Phil (Kinfolk Deejays) <<< 10am-Noon:
Sunday, December 18 >>> Choir Collective <<< Noon:
Sunday, December 18 >>> Holograms (Kinfolk) <<< 1pm-3pm:
Sunday, December 18 >>> LIM (Kinfolk) <<< 3pm-5pm:
Sunday, December 18 >>> Robbie Bankes & Frida Höfling <<< 5pm:
Jules Sontag is a new jeweler to the MC, and she creates all of her pieces by hand. Every new piece starts out as metal sheet or wire. Once the design is finalized, it is brought to life using traditional metalsmithing techniques such as sawing, filing, sanding, hammering and soldering. Her one-of-a-kind pieces take days to carefully hand craft, and are full of intention. We absolutely love her entire collection, and are especially drawn to her brass and silver earrings featuring rare King’s Manassa turquoise. With so much time and care invested, there is a sense of personal connection and emotion with each piece.
We wanted to learn more about how Jules first started out and how she manages to keep creating such lovely works of art.
What was the initial thing that first drew you to begin metalsmithing?
My first encounter with metalsmithing was 15 years ago in an introductory jewelry & metals class at ACAD. After foundation year I went on to pursue other career goals, so coming back around to working with metal in 2015 was such a satisfying, full-circle transition. I was that kid sitting on the dirt with a friendship bracelet pinned to my pants every recess, spending my allowance on beads, dreaming up what to make next. Even then, I realized that people really connected to handmade things. Some of my friends still have the bracelets and earrings I sold them on the playground as a kid – the entrepreneurial spirit started early too :) Making jewelry has always been a good intuitive fit, but it took a long time to understand why this is what I want to do in life.
What is your favourite thing about metalsmithing and jewelry making?
Making jewelry has always been exciting, no matter what material I’m working with. But metalsmithing gives me a chance to create objects with gemstones and metal, and I find that so magical. Materials that come from the earth have a sense of permanence and history about them.
It’s hard to overstate the connection we have to the jewelry we choose to wear – it represents special relationships in our lives. It helps us to remember places, times and events that hold personal significance. Knowing that someone may be wearing one of my creations when they’re celebrating a commitment, hugging their kids, making art, living their daily lives – it’s mind-blowing, honestly.
Beyond that, I’m just in love with the process. It’s primitive, it’s physical, and it’s so satisfying to take on the technical challenges that come up along the way. As a jeweler, I have a lot of opportunity for quiet reflection, which I really enjoy. I’m happiest when my mind is calm and my hands are busy, and I hope that peaceful, meditative state of mind comes through in my work.
Tell us about your process. How do you arrive at such beautiful and considered pieces in the end?
My process comes from many directions all at once – it’s not a linear thing. When I’m working on something new, I spend a lot of time staring at stones and sketching shapes, waiting for inspiration to strike. I usually have ten or twenty things in various stages going at the same time, and that gives me a chance to keep the creativity flowing. If I get stuck on something, there’s always a lot of work to do on pieces that are further along. That way I can keep working, even if I’m not coming up with any new ideas for a while.
The details that evolve as I work are the best part of the process. That’s where I get to leave some evidence that my jewelry was made by hand. Unique details that can never be replicated in exactly the same way take time, and it’s a huge investment that I have to re-commit to over and over. Often I struggle with that, because I know I could alter the design a little, to make it easier and faster to put together. Some days it’s so tempting! But in the end it’s just not the way I work. When I put something out there knowing that I managed to preserve all the details that mattered to me, it’s an amazing feeling. Quality over quantity, always.
Where do you draw your inspiration for your pieces?
I take a lot from my surroundings. I feel most at home in nature – looking out over the ocean or walking through the trees. But I live in inner-city Edmonton, at the opposite end of the spectrum. I’ve had to spend a lot of time learning to find beauty here. I look out my window while I’m working to see a lot of dirt and concrete and power lines and brick walls. When I go for a walk, I pick up rusted metal bits, broken glass, and feathers that have been run over by cars. I take photos of things growing up from cracks in the cement. For the most part, it’s a gritty, stark, monochromatic environment. But I see a lot of resilience and simplicity in it and I think that’s showing up in my work right now.
You call your pieces “intentional adornment.” Why is intention something that you like to highlight about your practice?
I love the idea that jewelry can be made with intention. When I’m working on a one-of-a-kind piece or a small batch of related pieces, I’m in contact with it for a long, long time, holding it in my hands and making decisions about how I want it to look and to feel when it’s worn. That’s a very intentional process – to be fully present in the act of making, and to hold really positive energy while doing it. In a society that often favors mass-produced, machine-made, disposable things… handmade is really, truly special.
How can people get in touch with you?
My website is www.julessontag.com and although the online shop isn’t scheduled to open until the new year, it’s a good way to contact me. To stay connected, you can sign up for my newsletter through my website or find me on Instagram: @jules_sontag. When I’m at the bench, I love to share bits and pieces of the process of metalsmithing in my Instagram stories.
Come see Jules’ gorgeous jewelry in person from December 16-18 at MC!
A winter wonder in the heart of Chinatown this weekend Market Collective – a celebration of local creative tastemakers. We are proud to be featuring 44 songwriter duos and DJ sets over the four weekends at the Chinese Cultural Centre. This is the third of four Welcome To The West curated lineups at the #MCcheer2016 event series. Performances include: Cory Zaradur of Inner Ocean Records, Lisa Anderson, Fake James, Barnaby Bennett, Shannon Hart + many more.
Friday, December 9 >>> Cory Zaradur (Inner Ocean Records) <<< 4pm-6:630pm:
Friday, December 9 >>> Jarrod Sterling <<< 6:30pm-9pm:
Saturday, December 10 >>> TKL (excursions.fm) <<< 10am-Noon:
Saturday, December 10 >>> Fake James <<< Noon:
Saturday, December 10 >>> Barnaby Bennett <<< 1pm-3pm:
Saturday, December 10 >>> Jared Andres <<< 3pm-5pm:
Saturday, December 10 >>>Mike Tod & Nathan M. Godfrey <<< 5pm:
Sunday, December 11 >>>Two Pair Pat <<< 10am-Noon:
Sunday, December 11 >>> Choir Collective <<< Noon:
Sunday, December 11 >>> Donna Dada <<< 1pm-3pm:
Sunday, December 11 >>> Shannon Hart <<< 3pm-5pm:
Sunday, December 11 >>> Lisa Anderson & Nikki Romeril <<< 5pm:
Way back in 2004, a group of Industrial Design students, Carmen Douville, Dara Humniski, Doha Lindskoog, and Anna Thomas formed Loyal Loot. Twelve years later, Loyal Loot has exhibited their line of furniture and housewares including their famous Log Bowl, all over the world. Doha Lindskoog and Anna Thomas are now the primary partners, running Loyal Loot from their studios in Calgary and Edmonton.
Loyal Loot’s work and process clearly points toward an ultimate goal of timelessness and quality. Concepts can take three to four years to perfect, and the products on their website are often made to order. Their iconic Log Bowl is made from locally sourced and naturally felled trees that need to be dried for eight months. Luckily, there’s no lead time if you come to see Loyal Loot at Market Collective from December 9-11! They will be fully stocked, and ready for you to purchase their work.
Loyal Loot has been around for over ten years! How has your process changed now from when you first started?
We are much more organized now. Our process has gotten more efficient and our final product has a more finished look. That said, because of the handmade and small batch nature of our product, the variation from piece to piece endures.
What were some of the biggest challenges to overcome when starting out?
Being prepared. We were pretty green when we started out! We would go to these big exhibitions and show our work, with homemade catalogues and business cards, no pricing information or lead times. We didn’t expect that people would be interested in ordering as enthusiastically as they were – but we figured it all out as we went along. We were always scrambling for product shots for magazines that were of a good enough quality. Eventually shooting our work became an early step we really learned everything by doing.
All four founders met while studying in the University of Alberta’s Industrial Design program. What was the most valuable lesson you learned while still a student?
It’s not worth it to take a program and do work just to please your professors and get a top grade. Of course, it’s very important to get as much as possible out of the program, in terms of information from professors, guidance and expertise from the wood shop technicians, mentoring from Masters students. That said, staying fearless, authentic and experimental during this time is crucial to finding your own voice.
You’ve said that you want your products to endure. Why is timelessness so important and how do you achieve timeless design?
Timelessness is important because it means an object has lasting power. It will always belong in a space because it’s not based on current trends. A timeless object can sit comfortably next to an eclectic array of items and fit right in. We attempt to achieve timeless design by coming from a perspective that is not based on trend.
What does creativity mean to you?
To us, creativity is playing, experimenting, asking ourselves ‘what if’ or ‘why not’, daydreaming and taking our time.
Where can people find more about Loyal Loot?
Visit our website www.loyalloot.com!
Thanks for sharing with us Doha + Anna!
Find Loyal Loot at MC this December 9-11.
Whimsical, witty, and one of a kind. That’s how we would describe our debut artists for December 2-4. L&R Studio is run by Lisa and Rob and is based out of Southern Manitoba. Together they produce a beautiful array of jewelry and housewares. Everything that they make is hand-crafted by Lisa, giving each piece its own unique personality.
After seeing the playful ceramic “pot heads” and colourful, braided rugs, we just had to know more about the process and inspiration behind L&R studio’s delightful pieces.
When did you first start L&R Studio, and how has your process evolved over the years?
I started the studio the summer after I graduated from Art School in 2014. After working on my thesis, which centred around a heavy topic for me, I wanted a bit of a breather to focus on something different. Since I had been using primarily traditional methods of craft in my sculptural work, making the move to functional housewares was a really natural step. The textiles began as conceptual sculptures while I was in school, then when I started the studio I was making functional rugs and a few tiny wallhangings. Then I had a small show here in Winnipeg at the Manitoba Craft Council which required everything to hang on the wall. I liked them so much that way, I made the switch to only wallhangings, but larger. The ‘pot heads’ and beads were something I made while in art school, sort of as a ‘stress reliever side project’ with the extra bits of clay I had. My process with ceramics hasn’t really had time to evolve yet. I feel like I’ve just gotten my studio set up in a way where I feel familiar enough with all the equipment that I can start to try some new things.
You work with both ceramics and textiles. What is the dynamic between the different mediums you work with?
Honestly, the projects I’m doing with each medium are pretty unrelated. The mediums themselves have a lot of similarities but the projects I make do not currently intersect. I’m actually very careful to keep them separate for practical reasons. Clay dust and fabric don’t make a good match.
What is your favourite thing about each medium you work with?
I think my favourite quality about each medium is the same; it’s that they’re so tactile. With clay it’s that it’s so malleable. With textiles, it’s the textures that each fabric comes with.
Everything is hand-crafted making each piece unique. How important is the mark of the hand to your work?
‘The mark of the hand’ isn’t something I really consider when I plan out or make my work, I guess because it’s one of those qualities that I can’t remove from the final product even if I wanted to. It’s just part of the nature of a handmade object, for better or for worse. My job is to make that handmade quality always for the better. I can’t make the wallhangings in a factory, or even do the sewing with a sewing machine because the braids are too thick. I don’t use moulds in my ceramic practice because I don’t feel they lend themselves to the heart of the projects I’m doing. I like irregular shapes. I like things being unique. So I embrace my own aesthetic and I work hard, I learn new techniques, source new materials, and I make handmade objects that no machine could make. Being able to recognize the time, effort, skill and patience that went into an object causes pause and reflection. It’s a good thing.
Why do you think people are drawn to handmade pieces?
I think there are many reasons why more and more people are considering the handmade option. Handmade goods are usually better quality, sold in an environment that provides more of an ‘event’ type atmosphere which is fun, are ethically made and transparent about any environmental impact, benefit the local economy, and are just plain something different than what you get from mass production. People like having or collecting things that are special and different. Same same same gets boring.
Where are you drawing your inspiration from these days?
I find a lot of inspiration in the limitations of my craft. Finding ways of pushing the methods I work with to do things they normally don’t is interesting and fun. Because I use second hand material, there’s limits as to what type, colour, and amount of each fabric I can actually get. It’s like a treasure hunt, and while the selection can be at times strange, it’s always changing and it forces me to work with fabrics I wouldn’t have thought of using before. Another mainstay inspiration is the landscape I’ve grown up in. The shapes made between land and sky are pretty dramatic in the prairies and I really like infusing those shapes and colours into my work. The changing seasons right now are especially inspiring.
What is the biggest challenge you’ve faced as a maker, and what advice can you give to those just starting out?
One of the biggest challenges for me was figuring out what to charge for my work. I had a hard time keeping track of my costs and valuing my time. I ended up selling some things where I didn’t actually get paid. My material cost was covered, but I wasn’t getting compensated for my time. I started making progress when I stopped thinking about my prices as ‘can I personally buy this?’ because the reality is that I’m a recent graduate and of course I can’t go and buy a high quality wallhanging for my home right now. Have a sensible calculation to accurately price your art. Guessing doesn’t cut it. Neither does comparing your work to things you see in the mall. I would encourage anyone who is starting out to contact an experienced maker and ask questions. Consider your costs and value your time. Don’t let insecurities make their way into your prices.
Where can people find out more about your work?
My website and Instagram account are some of the best places to get info about my work:
www.landrstudio.com or @landrstudio
Or, feel free to e-mail me firstname.lastname@example.org
Check out L&R Studio from December 2 to 4 at MC!
AV Wakefield // Photo Transfer and Ornament Workshop
About the Instructor: A.V is a long time Market Collective supporter, and the artist behind North Birch Grove; a fine art photography + home decor brand. With a focus on Canadian landscapes and travel photography, she partners her images with handcrafted wooden items to showcase them in a rustic yet modern way.
About the Workshop: Each student will create 3 one of a kind wooden ornaments using different techniques.
Ornament 1: Alberta Province Image Transfer
Ornament 2: Ink Painting Circular Mountain Scene +
Birch Bark Appliqué
Ornament 3: Ink Painting Graphic Tree + Wood Burning
Date: Monday, December 12, 2016
Location: Blank Page Studios (1221b Kensington Road NW)
Cost: $75 (plus tax)