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mm‘st "”*é%§§1§§bfizlar'€ _*_’~'â€"â€"_'""""f"""""""""""""""""""""""""""""""'""""""""ET""'1 Page 5 4 . NDEAU CRAFTS EA PHYLLIS SCOTT AND THE LEEDS CHINA PAINTERS Local CraftspeOple by Doris Crowe photo by Greg Derbyshire We gardeners have been turning up the good earth of Leeds for 150 springs and more. Sometimes we turn up a bit of the past: scraps of old tools and harness, squareâ€"headed nails and whisâ€" key bottles. It's fun to think that another 150 springs down the road, one of our gardening descendants might turn up a fragment of what was once a china plate. And he might just be able to pick out a hint of a rose petal, may- be even the signature of the painter. If Phyllis Scott has her way, he'll recognize what he's found because he'll have seen wellâ€"preserved speci- mens in his local museum of folk art. Because...Phyllis Scott has decided to go down in history. On a plate. With a little bit of help from her friends. She'll tell you quite matter- ofâ€"factly: "... what my girls and I are doing is a reflection of our daily lives, and we will some day be part of local history...design flaws and all, we are creating history. Even if a plate breaks, it doesn't wear out or disintegrate. It lasts for centuries." she-first became aware of this aspect of her hobbyâ€"turnedâ€"craft-turned art form a few years ago as a tourist in Majorca. There, in museums and monâ€" asteries, were many examples of handâ€" painted china from as far back as the 13th century, created by nuns and monks for their daily use. Old tiles, jugs, pitchers, apothecary jars and tableware represented genuine Spanish folk art and reflected their times in scenery, flowers and abstract designs. Other china painters tell of Seeing similar displays in the museums and great houses of the British Isles. All anonymous and unidentified, of course, because china painting has traditionally been a pastime for leisured ladies. It wasn't too seriously regarded then, and probably doesn't get excessive amounts of respect now. There is a fascinating story from our own past about an ambitious and munificent gift of a hand-painted din- ner service, every piece unique, made by "lady amateurs" to be presented to Lady Aberdeen, wife of the Gover- nor General in 1898. Each of the more than 200 pieces of fine Doulton porcelain bore a different Canadian scene, bird, fish, fruit or wild-‘ flower. Each subject was identified and signed by the artist. A current newspaper account described the gift as "an illustrated history of the scenery and seasons of Canada in 208 volumes", and Canadian art histories call it a remarkable accomplishment of true artistic and historic merit. In those days every accomplished young lady was expected to know some- thing about china painting. Some of them became very proficient, even professional, and those who qualified to paint the viceregal gift had to pass a stiff national competition. ~When Phyllis talks about the evolu- tion of her own technique and style, what comes through is how she sees herself and her environment in East- ern Ontario in the 1980's. Her first lessons in the early 60's were based on a conventional, formal style, from traced designs in a set pat- tern. One china painter's work was much like another's, like tracing old embroidery patterns or exchanging quilt blocks. Her own naturalistic style emerged gradually as she master- ed the techniques, attended shows and Phyllis Scott demonstrates some of the finer points of the china painting art. classes in‘the United States, absorbed more from the world around her and put more of herself into her painting. Phyllis Scott, the urban 60's hobby- ist, became Phyllis Scott, the country artist. One of the most charm- ing products to come from her studio recently is a collection of marvel- lously alive studies of sprigs of wild daisies and blueberries, picked on the way to class, enlivened by a small red bug. The softness of flower petals, the jauntiness of the bug and the bloom on the fruit make it difficult to believe ghat these very appealing works came from a so- called beginners' class. A recent "graduate" summed it up this way: "This china painting is so... ...hard... I forget all about my husband, my kids, the housework, what I'm wearing, what we're going to have for supper...and I still haven't mastered it. So I'm taking a sabbatical...but I'm coming back." And when she does come back, Phyllis will say to her: "I know this takes a long time...but you can absolutely do what I can do...we are all learn- ing every day, we all learn by copy- ing others. Just take a close look at this. You might as well strive ‘for excellence right from the start." When it comes to stocking a Leeds Museum of Social History, there should be a wide choice of firstâ€"rate items for the china painting section. These days Phyllis doesn't talk much about her own work. All her energies and creativeness go into her teaching. "My talent is what my students are doing...while I'm teaching I can't even create at home because my mind is too full of their projects and their problems. I have to wait until the end of the session to be able to create on my own." This season she has 50 active stu- dents at various levels in classes at Crosby, Gananoque and Kingston. Since 1976, about 25 of the most dedicated have been part of Leeds China Painters Guild which was formed to continue be- yond the bare minimum beginners‘ training sponsored by St. Lawrence College. This group carries on its own projects, organizes the exhibiâ€" tions and demonstrations that are constantly attracting new recruits. According to Phyllis, Guild members "carry on in a complete family at- mosphere...with a lot more sharing than is usual in adult education... the fellowship and group feeling is just as important as the China we take home." The point is that this fellowship derives from a particularly painâ€" staking and disciplined and wholeâ€" hearted commitment to a very demandâ€" ing craft. Every student around the big studio table in Crosby Hall tells a variation of the same theme: many handicrafts and hobbies had been tried and tired of, nothing before had matched the excitement and satis- faction and challenge...the next proâ€" ject is always going to be better... it's so fascinating you can paint for 5 hours and never notice time passing.. my daughter-inâ€"law really covets this plate..." LEEDS COALITION FOR NUCLEAR RWSPONSIBILITY ENERGY NOTES Many of us have heard that the average Canadian homeowner is letting some of his or her hard-earned dollars fly out of doors, windows, walls and ceilings, in the form of lost heat. We've been encouraged to replace old caulking and weather stripping; to improve insulation in attics and walls; and to attach storm windows and doors. This program sounds like a lot of work and mOney. Is it worthwhile financially? If not, can it be made worthwhile? As with so many other things, there is no clearcut answer. For example, let us suppose I spend 9400 each year to heat my home with oil. I decide to carry out all the steps mentioned above. According .0 most esti ates, I will save an average of 55 per cent, which chops “140 from my heating hill. “spending on what happens to oil prices, it could take me up to 20 YGarS t04£nt my money heat to decide if I'm willing to wait that long. Rut let's consider that figure of 35 per cent in the context of our nation as a whole. About 38 per cent of the enerry used in Canada Foes toward heating'buildings. If we can save 35 per cent of this heating bill, then we havp cut Canada's total energy expenditure oy 13 per cent. This move would considerably reduce Canada's oil imports, thus improving our horrendous balance of payments deficit â€" a sore point in the recently defeated budget. It seems it would be a wise economic move for Canada to give increased financial support to the basic conservation methods already mentioned ~ in other words, to reduce their "payback" period. I believe we have a duty to conserve, so that the next generations may haVe adequate energy supplies. ' But regardless of this consideration, I think we can make a strons case for saying: Yes, Canada, basic conservation IS worthwhile. . T ‘nq-rn H: HWHWiâ€"HH'X-Héfi LL yon NEED 1’0 GROW FINE,VIGOROU$ GRASS IS A CRAcK m youe SmEM/ALK M .