Bruce Cochrane
Ceramic Artist
Bruce Cochrane is a renowned ceramicist celebrated for his mastery of tactile form and innovative firing techniques. His work reflects a deep understanding of texture, volume, and surface, often blending organic, sculptural shapes with a refined, minimalist aesthetic. Cochrane’s tactile approach is central to his process; he focuses on the physicality of clay, manipulating it to evoke a sense of warmth and intimacy. His pieces often feel like objects meant to be touched, with surfaces that invite exploration through the hand.
Cochrane’s firing methods are integral to his artistic expression. He is known for using wood and gas firing techniques, which impart unique textures and unpredictable color variations to his work. The interaction between clay and fire is crucial to his artistic vision, allowing the process to contribute to the final outcome, creating pieces that feel both ancient and contemporary. Through these methods, Cochrane has established a signature style that is tactile, dynamic, and deeply connected to materiality.
The Work I Do
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Earthenware
Earthenware pottery is a type of ceramics made from clay that is fired at relatively low temperatures, typically between 1,800 to 2,100 degrees Fahrenheit (982 to 1,149 degrees Celsius). This type of pottery is porous and often has a soft, earthy texture, which can vary in color from red to brown, depending on the clay used. After firing, earthenware is often coated with glazes to enhance its appearance and waterproof its surface. Historically, it has been used for both functional and decorative objects, such as bowls, pots, and figurines, and is valued for its rustic charm and affordability
Press Molded
The use of plaster press molds has allowed me to think about form beyond the symmetry and altered symmetry of the wheel. One, two and three part molds are made from clay models which are profiled using flat wooden templates. Slabs of clay are pressed onto the plaster molds. These pressed forms are then completed with thrown elements such as feet, collars, lips and raised details. This combination of technique offers many variations and endless possibilities.
Lidded Forms
Lidded forms in pottery refer to ceramic pieces designed with a removable lid, often for functional purposes such as storage, serving, or preservation. These pieces can range from simple jars and containers to more intricate teapots and storage vessels, and the lid serves to seal the contents, preserving freshness or heat. The lid is typically crafted to fit snugly, with some designs featuring a knob or handle for easy removal. In pottery, lidded forms are often valued for both their practicality and their ability to showcase the potter’s craftsmanship, as the lid must align properly with the body of the piece, requiring precision in shaping and firing. Lidded pottery can be found in many styles, from rustic earthenware to finely glazed porcelain, and is commonly used in everyday life, from food storage to tea service.
Functional Work
High-fired functional pottery is made from clay that is fired at temperatures ranging from 2,200 to 2,400 degrees Fahrenheit (1,204 to 1,316 degrees Celsius), which results in a dense, durable, and vitrified product. This process makes the pottery non-porous and more resistant to water absorption, giving it strength and longevity, ideal for practical uses such as mugs, plates, bowls, and cooking vessels. The high firing temperature also allows for a wide variety of glaze options, often producing rich, glossy, or matte finishes that can enhance both the aesthetic and functional qualities of the piece. High-fired pottery, such as stoneware or porcelain, is appreciated for its practicality, beauty, and resistance to wear over time.
Elegance & Perfect Tactile Surfaces
Bruce was born in Vancouver and moved to Montreal at the age of ten. There he was introduced to ceramics at John Abbott College and was encouraged by his first instructor, Julia Manitius, to continue his education at the Nova Scotia College of Art and Design, where he studied with Walter Ostrom. From 1976-78, he attended the New York State College of Ceramics at Alfred University, where he received his M.F.A. He has taught ceramics at Sheridan College in Ontario from 1978-2010 and continues to conduct workshops and exhibit on an international level. His work is in the collection of such notable institutions as the Victoria and Albert Museum in London, the Gardiner Museum of Ceramic Art in Toronto and the Canadian Museum of Civilization in Ottawa. Bruce’s home and studio are located in Mississauga, Ontario.
After 30 years of working in clay, utility continues to serve as the foundation for my ideas. The pots I make, no matter how simple or complex, are meant to be experienced on a physical and contemplative level. The way an object carries, lifts, cradles, pours and contains are properties which I strive to make engaging for the user, offering more than just convenience. Pottery has the potential to affect peoples lives in a very real way. The challenge is to go beyond the mundane and purely technical solutions which only compete with a vast industrial market. The pottery I find most compelling in terms of its vitality and its reflection of the maker are those who reach back into the traditions of vessel making not simply in reproduction but rather how these historical models are reinterpreted and revitalized to have more relevance to contemporary society.
Enjoy the Work
Nominated Multiple Times for the Governor Generals Award
Bruce Cochran has garnered numerous awards and recognitions for his exceptional work in ceramic pottery, including being nominated for the prestigious Governor General’s Award. His innovative designs and technical expertise have earned him acclaim within the ceramic arts community, with his work featured in prominent exhibitions and collections. Cochran’s ability to blend form and function in his pieces has solidified his reputation as a master potter, and his Governor General’s nomination further underscores his significant contribution to Canadian art and craftsmanship
Bruce’s current work is made with stoneware clay and gas fired in a reduction kiln or a soda or wood fired atmosphere. He is also working with similar forms in earthenware with terra sigillata in a reducing atmosphere. The pots are constructed from thrown sections that allow for greater articulation of form and facilitates the application of pattern and texture through the use of carved roulettes.
Location
Markdale, Ontario
Hours
M-F: 10am – 8pm
S-S: 10am – 3pm
Contact
(416)-908-8846
Send Me A Message
Workshops
Workshops
Workshops can be arranged with a minimum of three month notice as well as availability within my schedule. Fees are based on the length of workshop, travel time, venue, and format-demonstration/participation.
One and two day demonstration workshops are an intensive session of throwing/trimming, throwing and altering, handles, lids, surface techniques and press molding with thrown elements. Dialogue is encouraged throughout the process. A visual history of my work and influences will be presented to support and contextualize the objects that are been made in the workshop.
One and two day participation workshops will focus on specific techniques where examples will be demonstrated followed by hands on participation with individual instruction. The size of these classes will be limited to the facility and number of wheels available.
One and two week workshops are generally thematic with a focus on exploration of unfamiliar territory using demonstrated techniques and form investigation through daily exercises. Sectional throwing, thrown/altered, reconstructed form, composite forms and pressmolded combinations are possible modes of investigation. Individual discussion and group critique offer valuable input to successful outcomes. Participants are expected to come away with exciting possibilities to further develop and resolve at home.
Workshops can be arranged with a minimum of three month notice as well as availability within my schedule. Fees are based on the length of workshop, travel time, venue, and format-demonstration/participation.
