Featuring the work of:

Caz Bently
wood block prints
Daniel Bernyk
metal scuplture
Pat Burns-Wendland
hand spun weaving
Scott Caple
illustrations
Larry Cluchey
wood turning
Catherine Crowe
enamels
Dark Ages Re-creation Company
living history
Sandra Dunn
& Steve White
metalsmithing
Dianne Edwards
marquetry
Kelly Green
wood carving
Allison Hamilton
painting
Lydia Ilarion
fine metalwork
David Ivens
metalwork
Lloyd Johnson
forged metals
Mary Lazier
ceramics
Elsa Mann
ceramics
Darrell Markewitz
forged metals
Rosemary Molesworth
ceramics
Kelly Probyn-Smith
metalwork
Mark Puigmarti
forged metals
David Robertson
forged metals
Brenda Roy
fine metalwork
Rob Schweitzer
tablet weaving
Graeme Sheffield
forged metals
A.G. Smith
illustration
Steve Strang
painting & drawing
Ruth Swanson
ceramics
Kathryn Thomson
blown glass
Mark Tichenor
ceramics
Laura Travis
stone carving
Catherine VamVakas Lay
blown glass
Sara Washbush
fine metalwork
Brigitte Wolf
stained glass

Darrell Markewitz
The Wareham Forge
Proton Station ON
519 923-9219
info@warehamforge.ca
www.warehamforge.ca

Like most of the artisan blacksmiths of his generation, Darrell is primarily self taught, first picking up a forging hammer while a student at Ontario College of Art in the late 1970’s. He worked as a historical interpreter at Black Creek Pioneer Village, and has blended technical and demonstration skills with his life long interest in the Viking Age. These diverse elements would come together in his work creating objects and programming for major museums. His two most significant projects were the creation of the Norse Encampment for Parks Canada (at L’Anse aux Meadows NHSC) and the World of the Norse (for the Cranbrook Institue of Science). He has worked throughout Canada and the USA as a consultant to such institutions as the Canadian Museum of Civilization and the Smithsonian. Artistically, the flowing curves of his signature ‘Rivendale’ style are a blending of the recent Art Nouveau, historic Norse and ancient Celtic lines.

" The study of objects from the past is so often the study of Grave Goods. Before the Christian era (and even after it) most cultures equipped the dead with the objects they had owned in life. Just what is placed in a burial, and why a specific object may be chosen, often says more about the living survivors than those departed.
I often wonder what future archaeologists will make of our times, looking back with only our own garbage and carefully entombed grave goods to guide them. "

'For Our Honoured Dead' mixed media Available for installation on request Last year I attended a theatre opening and reception, very shortly after Remembrance Day. In the room was a plinth holding a book — a Book of Remembrance, which held the names of all those who had died from that town in Canada’s wars. I was outraged to see how the unthinking would litter the Book with their empty glasses and garbage. Regardless of your attitude towards War, soldiers continue to die in your place and at your command. A people will be known by how they respect those who placed themselves to be killed for the welfare of all.

'Segmented Urn' forged and fabricated wrought iron $800 The body of the urn is composed of a number of individually hand forged strips of antique wrought iron. I saw samples of the basic technique employed by the Japanese blacksmith Takayoshi Komine at a workshop / demonstration two summers past. (Taka uses the method to make subtle oil lamps employed in the Tea Ceremony.) Actual historic wrought iron has been chosen for the construction because of its excellent forging characteristics and special durability. The metal itself is already some 150 years old — and should easily endure for centuries more. A fitting resting place for the memories of one past beyond us.