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

Catherine Crowe
IMAGO CORVI
600 Markham Street
Toronto, ON
M6G 2L8
416-593-9424
www.imagocorvi.com

Catherine Crowe has been enameling for 24 years. Originally self taught, she has since taken workshops with master enamelist Fay Rooke which have stimulated her work enormously. Catherine has been teaching for 15 years at various venues including a credit course at George Brown College in Toronto. Catherine’s love affair with Irish Culture initially sparked her interest in enameling. This began with an interest in traditional singing, which she still pursues, but her interests have expanded to include many historical and mythic themes. Building cultural community has been an abiding passion for many years. With artist collective An Droichead/The Bridge she strives to make both traditional music and visual art meaningful in a contemporary cultural context. Catherine is also one of the past contributors to ‘Reflections of the Conquest’ at the Woodstock Museum.

"My goal is to imbue the objects I make with meaning. I work with a grammar of ornament that comes from the past, Iron Age, Celtic, Byzantine, Medieval - but my goal is to speak to the present. Each piece has its own story, informed by research in early history, mythology, anthropology and folklore. My vision is to mirror the past, and speak to the present through ancient symbols.
Throughout history the articles deposited in one's grave have been an important reflection of the relationship with death and the afterlife. Sometimes the articles have been entirely symbolic, but often they were items believed to be of use to the deceased in the afterlife. I have chosen to explore the very concrete sense that people in the past had of death being the beginning of a new life more than as the end of this one."

	Offering Bowl Raised brass bowl with champlevé enameled escutcheons and foot $650 There are few graves throughout history that do not include some kind of vessel. Life giving water was considered to exist on both sides of the mortal coil, and often a trip across water was the defining moment of entry into the next world. But a drink in the afterlife was something that would keep you there - and was symbolic of your altered state.
	Reliquary (collaborative piece with Charles Jevons) Brass fabricated box with riveted champlevé enameled panels $2000 Reliquaries were not usually buried with people, but instead carried the bones of deceased saints believed to contain miraculous power, thus acting as a miniature portable graves. They are a powerful symbol of how the deceased could still affect the living.
	Funerary Mask Enamel on copper $750 Funerary masks represented not the actual features - but a sort of idealized version of the dead person, how they perceived themselves as existing in the afterlife.