Scotiabank Nuit Blanche

Scotiabank Nuit Blanche is a signature event produced by the City of Toronto.


Scotiabank Nuit Blanche 2010


Images by: Eden Bender, Susan Card,Gabrielle Kauffman, Judith Graham, Irit Lepkin, Cory Pinassi

graphic design: Derek Chung

photo credit: Susan card


Scotiabank Nuit Blanche 2009



by Abbey Smith, Ian Chung, and Susan Card 

graphic design: Derek Chung

photo credit: Abbey Smith, Ian Chung, Dale Roddick


Scotiabank Nuit Blanche 2008



by Wendy Vervoort graphic design: Derek Chung


DISH GALLERY + STUDIO in the Distillery District

During Scotiabank Nuit Blanche 10

DISH GALLERY + STUDIO will mount the MYSTIC CLAY PAD Project  October 2, 2010

6:59 pm to sunrise

  • Ceramic artists participating in Scotiabank Nuit Blanche 2010 with DISH GALLERY + STUDIO exhibit vessels in the Text As Drawing Exhibition opening Oct 2, 2010 at 6:57pm


  • Interactive Performance of Public Art - The Mystic Clay Pad is a thought- provoking project about the nature of human communications in contemporary society with its roots in memory, psychology and the nature of art.

Inspired by a short text by Freud, the MYSTIC CLAY PAD will function as a collective memory machine, recording and preserving ephemeral traces of the event. Simultaneously visitors will see and create a record of digital communications sent from other zones across Toronto, projected as successive text messages onto wet clay. Collaborate with participants, both seen and unseen, as editors and scribes to create a permanent record of the evening's thoughts. Decide what will remain and what will be lost in this interactive performance of public art.

Overnight the Mystic Clay Pad will emerge to accompany the ceramic exhibition TEXT AS DRAWING by by 20 ceramic artists. Opens 7pm

Scotiabank Nuit Blanche toronto


Portfolio of participating artists

Biographies of participating artists:



People world-wide are communicating more than ever before. The vast majority of messages are sent digitally – either as pictures, emails or as text messages. Yet today, although some people may keep their own individual archives, the movement of this information is taking place largely without any kind of coherent public record. As we are increasingly inundated with images and text, we are gradually becoming inured to their presence. The ubiquitous screens that we find all around us have the advantage of being able to display any image. However, they are inherently passive and lack the permanence that has always been associated with image-making.  In writing about human memory, Freud used the metaphor of the “wunderblock” or “mystic pad”, a wax tablet covered by a plastic sheet which functioned as a perpetually renewable writing surface. By lifting the sheet, all marks on the surface could be made to disappear, but traces of everything that had been written there would forever remain.  Inspired by Freud’s metaphor, the MYSTIC CLAY PAD project will function as a collective memory machine, by recording and preserving thought traces from the evening of Scotiabank Nuit Blanche.  A tablet of wet clay, in combination with video projection, offers the same functions as the “wunderblock”, those of renewal and permanence, through the addition and removal of material. More than painting or printing or photography, clay has an undeniable association with preservation.




The project will combine traditional clay media with video projection and modern communication technologies. Using software written by Dallas Card specifically for this purpose, this project will gather text messages sent via Twitter in real time, from 7pm to 7am, generated by Scotiabank Nuit Blanche visitors across all zones. Although those sending the messages won’t necessarily realize they are participating, this work symbolizes, makes use of, and thereby calls into question, the vast amount of information that people are intentionally making public today – messages which are known to be readable by anyone, yet which tend to be thought of as temporary. These messages will be projected onto the surface of soft clay in DISH GALLERY + STUDIO. Studio visitors will simultaneously see and incise the text or alternatively, the audience can add bits of soft clay, making use of the text as the design for their artwork.


By capturing text messages sent from other areas of the city on the evening of Oct 2, the MYSTIC CLAY PAD will address the themes of communication, memory, and collective engagement. At the start of the event, it will be much like any other information source, passively displaying messages sent from the Scotiabank Nuit Blanche zones. Through incising the collected messages they see projected onto the Pad, the audience will simultaneously see and create a record of messages appearing on it, a collaboration of participants both seen and unseen.  By the end of the evening, however, the MYSTIC CLAY PAD will be transformed into a record of what has taken place, a kind of supplement to the more ephemeral form of electronic communication. Moreover, this project will be a highly collaborative work. Audience members will be drawn into the event, being given the opportunity to serve as editors and scribes, deciding what will remain, and what will be lost. In essence, the design of the work occurs through the act of transcription, of drawing the script. The MYSTIC CLAY PAD will emerge as a permanent, physical record of the collective thoughts of the evening, each of which has the potential to be literally carved in stone.


The Toronto Distillery Historic District is a national historic site that has been transformed into a center for arts, culture and entertainment in downtown Toronto. Set on 13 acres, the 40 buildings on the site constitute the best-preserved collection of Victorian Industrial Architecture in North America.

As an area that hosts the filming of movies, tv shows and music videos, the District is also home to internationally acclaimed festivals, galleries, theatres, restaurants, boutiques and artists studios including




Scotiabank NuitBblanche10

After having owned and operated her own garment manufacturing business, Barbara Banfield has turned her creative explorations to clay. As recent graduate of Sheridan College Ceramics Programme, her work is featured in the September issue of Ceramics Monthly.

Eden Bender’s award-winning work explores human relationships, compassion and the inner spirit through her figurative pieces.


Trained as a graphic designer in her native Sao Paulo, Brazil, Celia Zveibil Brandao is captivated by the possibilities of the clay. Celia work is centered in the exploration of form and decoration as applied to both functional ware and sculpture.



Susan Card opened DISH GALLERY + STUDIO in 2006 in the Toronto Distillery Historic District’s Casegoods Warehouse. DISH GALLERY + STUDIO offers a retail shop, exhibitions, and pottery classes.


Dallas Card (M.A., B.A.Sc.), invited guest curator, will contribute technical expertise to the production of "MYSTIC CLAY PAD". Dallas is currently working in neuroimaging research, but has previously been involved in a variety of collaborative artistic projects.



Shu-Chen Cheng has exhibited her work at venues in the Toronto and Hamilton area since 2000, including Designer Crafts, the Carnegie Gallery Juried Exhibition, potters’ guilds of Burlington, Hamilton and Toronto Biennial Exhibitions, the Toronto Outdoor Art Exhibition and Muskoka Moose Show.

Graphic Designer Derek Chung was responsible for organizing the 2007 exhibition of work of the Durham Potters Guild at the Station Gallery in Whitby and has served on the ceramics community on the board of FUSION for many years.


Initially educated in Commercial Design in Hong Kong, Ian Chung is a founding member of Markham 48 Studio Tour and is actively involved in the ceramics community as VP of the Durham Potters. His work is found in the collections of Herbert O. Bunt and The Burlington Art Centre.



Aneela Dias D’Sousa, a native of Mumbai, India and  graduate of the Sheridan College Ceramics Programme, is currently  an Artist-in-Residence at Harbourfront Centre. Aneela will coordinate the Toronto Potters Exhibition opening in 2010 at the Gardiner Museum in Toronto. 



Judy Donaldson has been actively involved with several Ontario arts organizations since 1989 on the organizing committees for several clay conferences and has written workshop and exhibition reviews and technical articles for the Ontario Crafts Council, FUSION Magazine, and Ceramics Monthly.


Returning recently to Canada after living for 9 years in Japan, Reid Flock established His studio within parameters of both Canadian and Japanese cultures. His work was awarded Best Ceramics at the Toronto Outdoor Art Exhibition 2010.

Judith Graham describes her work as “deconstructionist pieces. Recent work can can be seen at Jonathan Bancroft-Snell Gallery in London, ON and David Kaye Gallery in Toronto.

Inspired by her wooded surroundings, Gabrielle Kauffman’s pottery exhibits textures, colours and patterns based on natural forms and lines. Gabrielle donates 50% of all her pottery proceeds to the Canadian Food for Children charity.


Margie Kelk  has exhibited her work in over 25 solo exhibitions and group shows since 1984, most recently (2009) in “A Postcard is worth 1,000 words” exhibition, APW Gallery, N.Y. City, N.Y. U.S.A. and “im/AGE” at  Propeller Gallery, curated by Moses Znaimer. Currently President of Propeller Centre for the Visual Arts in Toronto, her artistic works span a multitude of media. A recent foray into ceramics extends her collaged photographic pieces whose main characters appeared as graffiti on walls.

Inspired by her wooded surroundings, Gabrielle Kauffman’s pottery exhibits textures, colours and patterns based on natural forms and lines. Gabrielle donates 50% of all her pottery proceeds to the Canadian Food for Children charity.


Although  Irit Lepkin’s sculptures are small in scale, they are    powerful in emotional evocation. In her work, Lepkin attempts to mirror the human predicament.

After receiving a degree in 1994 in ceramic art in Dundee, Scotland, Lesley McInally immigrated with her partner to Canada in 2004. Her work is influenced by landscape, seascape, weather and it’s effects.

Barbara Rose, a retired teacher, graduated from the ceramics programme of Sheridan College (2008). Barbara currently teaches pottery classes at the Burlington Art Centre.

Abbey Smith’s recent work consists of murals available for commission for public and residential spaces, as well as freestanding sculpture and functional pottery.  Born and raised in Philadelphia, Abbey settled in ON in 1967 where she taught in Toronto public schools, at the Royal Ontario Museum, Seneca College and her own studio.


Brenda Sullivan has owned and operated a ceramic studio for 36 years; her current studio, Dragon Clay Productions, is located in Port Hope.

Robert Têtu’s porcelain is included in private and public art collections, notably, the Governments of Ontario and Brazil, and the permanent collections of the Potters' Guild of Hamilton and Region, the Waterloo Potters' Workshop, and The Canadian Clay and Glass Gallery in Waterloo, Canada. A professional ceramist for 35 years, Robert’s studio Beechwood Pottery is located in an historic general store near Seaforth, Ontario.

Chiho Tokita is an award winning studio potter in Toronto, whose fascination with form fuels her exploration of the vessel shape.   The works are minimally glazed to highlight the form and the marks of the process. 


During Scotiabank Nuit Blanche 09, DISH GALLERY + STUDIO mounted the If Walls Could Speak Exhibition.

Oct 3, 2009 6:55 pm to sunrise

Scotiabank Nuit Blanche 09 Zone B

Portfolio of participating artists

Artists and visitors collaborated in DISH GALLERY + STUDIO using wet clay tiles to create a wall of graffiti for this interactive public art exhibition. Artist-designed graffiti tiles on display inspired visitors to scratch, scrawl, paint, impress or add parts to prepared tiles of wet clay. A new form of art, graffiti relief, emerged overnight on a wall in the Toronto Distillery's Case Goods Warehouse.

From the beginning of human history, people have documented events, emotions and observations through drawing on walls of caves or rocks. While walls of buildings not only reflect the architecture and history of the time in which they were constructed, they provide a record of the social, political, economic, and geographic environment of that time. They also tempt graffiti artists.


Although graffiti, the modern-day equivalent of cave paintings, is a criminal offence, contemporary views recognize it’s artistic merit as a form of public art. Often expressing social or political views, it has been known to incite dialogue between opposing points of view as part of an underground rebel culture.


If Walls Could Speak was mounted as an exhibition and an event to legitimize the inclination of people to make marks on a wall. Outside DISH GALLERY + STUDIO a 20 foot wall of graffiti was created. The public was permitted to scratch, scrawl, paint, impress, or add clay to raw clay tiles prepared for the purpose of creating a graffiti wall of clay. An art form traditionally created with spray paint, this project introduced a new art form, graffiti relief, especially for Scotiabank Nuit Blanche 09.


The project wall was “seeded” with graffiti tiles created by artists Through the night, DISH GALLERY + STUDIO with 19 artists from diverse disciplines created a wall of artist-designed graffiti tiles interspersed with visitor-created graffiti tiles in wet clay. Artists’ tiles sowed the seeds of creativity to inspire visitors to scratch, scrawl, paint, impress, or add “sprigs”, or bits of clay, to wet clay tiles prepared for the purpose.


Other works by artists exhibiting graffiti tiles on display inside the gallery inspired the public to construct the graffiti wall as the hours ticked by.


During Scotiabank Nuit Blanche 08, DISH GALLERY + STUDIO mounted the SECRET OF THE DISC EXHIBITION  Oct 4/Oct 5, 2008.

Ceramic artists (22) collaborated in an interactive public art exhibition. Combining secrets with the clay medium was inspired by the 4000 year old “Phaistos Disk”, a Minoan clay treasure, unearthed in 1908 Crete, but never deciphered. Motivated by the historic disk and contemporary CD /DVD discs, carriers of “mysterious” electronic information, ceramistsl embeded secret messages in CLAY DISCS. Visitors made charcoal rubbings of the discs on paper to de-code them.  Artists creating the works received feedback from the public as works were interpreted or deciphered. DISH GALLERY + STUDIO mounted the rubbings as a group exhibition. In the gallery the audience saw “wheel throwing” and created their own Secret Disc with secret coded message from a ball of clay. .

22 CERAMISTS PARTICIPATED IN Scotiabank Nuit Blanche 08

View portfolio of images of other works by participating ceramsts

Portfolio of participating artists


Barbara Banfield, Eden Bender, Celia Zveibil Brandao, Susan Card, Shu-Chen Cheng, Derek Chung, Judy Donaldson, Karen Franzen, Judith Graham, Deborah Johnston, Gabrielle Kauffman, Irit Lepkin, Gerri Orwin, Cory Pinassi, Barbara Rose, Linda Rosen, Margaux Smith, Brenda Sullivan, Robert Têtu, Wendy Vervoort, Andrea Vuletin, Catherine Weir.