2FORMS

An artist’s tarot reading. 🌊

This is not a borrowed anthem. My paternal family are olive farmers from Gasperina, Calabria, women known to their villages as benedicaria healers, and partisans who sang Bella Ciao into the fields and carried it into battle. They are the people this song was written for and by. What descends the full length of all four tiles is not a sword, it is the head of a partisan spear, its broad central blade flanked by the lateral wings that distinguish this weapon of the foot soldier, the infantry, the peasant who could not afford a horse or a knight’s arms. The word partisan names both the fighter and the weapon. The Italian resistance took its name from this spear. Here, that etymology is visible in clay. The partisan spear does not arrive beside the fasces,it breaks them. That is the specific image of collective victory: the weapon of the peasant class shattering the bundled rods of institutional power from below. The history we are uncovering is also personal. A family history of surveillance, control, and violence mirrors the structures my Calabrian ancestors resisted, I find myself choosing my lineage consciously, reaching past the immediate generation to claim the one that fought. Silvia Federici’s argument that capitalism and the Church built themselves on the suppression of women’s folk autonomy is not, for me, an academic framework. It describes both my family’s history in southern Italy and the dynamics I navigated in my own life. The resistance is not over. The spear’s blade carries the inscription that unites the political and the personal. “The worker must have bread, and she must have roses too.” Roses bloom at the wings of the spear head. The brick border holds it all like a village threshold, a boundary between what was survived and what is now being permanently claimed. The title is the last song sung before going to fight. The inscription is what they were fighting for. Then and now — these have never been separate things. Mounted on oak veneer, custom framing. Bella Ciao 2026 P O R C E L A I N T I L E C O B A L T U N D E R G L A Z E F O U R - T I L E W O R K In dialogue with: Federici, Caliban and the Witch (2004)

C e l e s t e H a n c h a r Tarocchi 2026 P O R C E L A I N T I L E C O B A L T U N D E R G L A Z E Each tile in this series is a singular act of translation — from the interior world of dream and symbol to the surface of fired clay. The tarot has always been a mirror; here, the artist holds it to herself. The historical research underpinning this body of work reaches into two distinct but deeply connected traditions. Joseph Campbell and Richard Roberts’ Tarot Revelations grounds the series in the class structures of medieval Europe encoded within the deck’s four suits — the clergy, the peasantry, the Nobles, the merchant class — each carrying its own relationship to power and to the body. Silvia Federici’s Caliban and the Witch runs alongside this as a darker counterpoint: her account of how the transition to capitalism was built on the violent suppression of women’s autonomy, folk knowledge, and bodily sovereignty illuminates what was at stake for the people those suits described. The witch trials were not anomaly— they were instruments of social control, targeting precisely the women who held communal, healing, and symbolic knowledge outside institutional sanction. Together these sources ask what it has always cost to know things outside the permitted channels — to read symbols, to trust the body, to seek inner power through means the dominant culture does not authorize. Special Recognition goes to designer Aine O’Neill, whose custom built tile cutters ensured each piece retained the dimensions of a standard tarot card throughout the clay’s shrinking process. @mowtinsnek Research drawn from: Campbell & Roberts, Tarot Revelations (1978); Federici, Caliban and the Witch (2004) On view @northerncontemporary until April 14 2026

There is a woman at the centre of the most told story in Western history who was erased so thoroughly that most of us didn’t notice she was missing. What does it mean to love someone so completely that you stay when everyone else runs — and be remembered for the wrong thing entirely? She was at the cross when the disciples fled. She came first to the tomb. First to see him risen. First to be sent to tell. The Church called her a prostitute for fifteen centuries rather than call her what she was. The 12 tiles are the 12 disciples — each a fragment, incomplete alone. Together they make her whole. She becomes the 13th. The witness. The one who did not run. When we think of loyalty, devotion to a righteous cause, it conjures thoughts of military, crusade like submission. Maybe it was always feminine bravery we modelled. At her waist she holds the blood egg — the red egg she is said to have brought before Caesar as proof of the resurrection, which turned crimson in his hand. But the egg is also a birth symbol. There is a legend older than the Church’s comfort with it — that she fled to France not alone, but carrying his child. That the cave was not exile but sanctuary. What if they just loved each other. Not cosmic, theological, incomprehensible love — but the warm, specific, entirely human kind. The reference is Guido Cagnacci’s Mary Magdalene in Ecstasy — the arched throat, the surrender to something larger than doctrine. His vision: Magdalene in her cave in the south of France, lifted by angels seven times a day to hear the music of heaven. Which is, when you say it plainly, a completely unhinged story that roughly a billion people have quietly filed away as sacred truth. That arched throat, that head thrown back — is this the ecstasy of divine communion? A woman in labour in a cave in France? Or the ecstasy of two people who were, before anything else, simply devoted to each other in the way that human bodies understand devotion? The Church made her a prostitute so we wouldn’t ask. We are asking. — Celeste Hanchar Mary Magdalene in Ecstasy, 2025 Cobalt underglaze on porcelain tile · 12-tile panel Losing My Religion · Northern Contemporary Gallery · Toronto

The ‘Moon’ Jar, 2025 Celeste Hanchar Hand thrown porcelain, cobalt, graffito carved Formed and inspired by the traditional Korean Moon Jar, painted with cobalt while still wet and carved before firing. The image is the Rider Waite Tarot imagery “pulled” from “The Moon” card. It shows a wolf and a domesticated dog howling between two towers at the moon above, a crustacean, meant to symbolize the unconscious ancient knowledge crawling from the source of all life. This card asks you to go deep within yourself and your dreams, into an understanding and trust of your intuition. Uncover hidden talents and explore your imagination. This card symbolizes solitude and peace. The carving is made with the traditional Italian graffito technique, where colour or glaze is applied and then scratched away to reveal the layer beneath.

Large 2 Forms, 1966-69 Henry Moore Grange Park, Toronto 2 Forms photographed on 35mm by 2 Forms, February 14th 2026 @2formstudio

A moment for this glistening glaze #clay #ceramic #pottery #glaze

My next trick 🌝 #tarot #ceramic #clay

tarocchi Handpainted ceramic tarot cards Celeste Hanchar, 2026 Tarot was first played as a card game during the 1300s in Milan. It took on new interpretations as a tool for divination and fortune telling. The suits many of us are familiar with today each symbolize a class within society. How does symbol help us look within ourselves? How do these archetypes change with each interpretation? Does superstition have a place when searching for inner power? These cards are the first tests for what will soon be a collection. Yes, I intend on making 76 cards.

a chorus of rosehips, 2025 Celeste Hanchar of 2 Forms Studio Commission for Naagan Glazed porcelain These past few weeks I had the honour to design and create dishes for the renowned indigenous restaurant Naagan, which translates in Ojibwa to dish. Since first touching clay to wheel nearly 15 years ago it was been a dream to work with a creative like @chefzachkeeshig to bridge the material of earth and clay with the abundance of the land itself to serve nourishment and the flavours to others. I recommend reading the article in the Globe and Mail that highlights Chef Zach and his practices, serving indigenous cuisine in a way that is truthful and beautifully respectful to the energy of the ingredients itself. So it was clear to me that my work would have to be all the things Naagan holds dear. Truth and the beauty of the world around us. Rosehips are significant to me, a ritual I use to ground myself in magic, my skincare routine is based around pure Ontario rosehip oil. This was truly a pleasure to explore. I was lucky enough to procure rosehips from the lovely @strangephool so I could study the forms before committing to a shape. What came forward to me was the diversity in the buds themselves, no two alike. I created each vessel by hand, using only my hands as measuring tools, what I hoped would be reminiscent of pre colonial art making, something that felt free and real and like you were holding nature in your hand. I couldn’t have completed this project in this short timeline without my partner @w.t.hanchar who nourished me through long studio sessions, helped ensure each piece was sponged smooth, thoroughly glazed and corrected any touch ups needed. I also couldn’t have done it without our beloved community studio @potpotstudioto where @rose.sevhan and @jonpongpottery ran the kiln firings and gave sound advice through the glazing process. It’s clear to me in this project how important community is, nothing we do on this earth is independent, it is all the work of our friends, family and loved ones that make our lives so rich and beautiful. To see something I created being used and enjoyed by others is a gift. miigwech @chefzachkeeshig 🌹

The ‘Moon’ Jar, 2025 Celeste Hanchar Hand thrown porcelain, cobalt, sgraffito carved Formed and inspired by the traditional Korean Moon Jar, painted with cobalt while still wet and carved before firing. The image is the Rider Waite Tarot imagery “pulled” from “The Moon” card. It shows a wolf and a domesticated dog howling between two towers at the moon above, a crustacean, meant to symbolize the unconscious ancient knowledge crawling from the source of all life. This card asks you to go deep within yourself and your dreams, into an understanding and trust of your intuition. Uncover hidden talents and explore your imagination. This card symbolizes solitude and peace. The carving is made with the traditional Italian sgraffito technique, where colour or glaze is applied and then scratched away to reveal the layer beneath. SOLD, DM to inquire. 🌀

𝕷𝖔𝖘𝖎𝖓𝖌 𝖒𝖞 𝕽𝖊𝖑𝖎𝖌𝖎𝖔𝖓 𝖜𝖆𝖘 𝖙𝖍𝖊 𝖋𝖎𝖗𝖘𝖙 𝖌𝖗𝖔𝖚𝖕 𝖊𝖝𝖍𝖎𝖇𝖎𝖙𝖎𝖔𝖓 𝖈𝖗𝖊𝖆𝖙𝖊𝖉 𝖆𝖓𝖉 𝖈𝖚𝖗𝖆𝖙𝖊𝖉 𝖇𝖞 2 𝕱𝖔𝖗𝖒𝖘 𝕾𝖙𝖚𝖉𝖎𝖔, 𝖎𝖙 𝖜𝖎𝖑𝖑 𝖓𝖔𝖙 𝖇𝖊 𝖙𝖍𝖊 𝖑𝖆𝖘𝖙. ❤️‍🔥 𝖂𝖊 𝖍𝖔𝖕𝖊 𝖙𝖔 𝖈𝖔𝖓𝖙𝖎𝖓𝖚𝖊 𝖘𝖍𝖆𝖗𝖎𝖓𝖌 𝖆𝖓𝖉 𝖈𝖗𝖊𝖆𝖙𝖎𝖓𝖌 𝖜𝖎𝖙𝖍 𝖔𝖚𝖗 𝖈𝖔𝖒𝖒𝖚𝖓𝖎𝖙𝖎𝖊𝖘 𝖆𝖓𝖉 𝖜𝖊 𝖆𝖗𝖊 𝖘𝖔 𝖌𝖗𝖆𝖙𝖊𝖋𝖚𝖑 𝖋𝖔𝖗 𝖙𝖍𝖊 𝖙𝖆𝖑𝖊𝖓𝖙𝖊𝖉 𝖆𝖗𝖙𝖎𝖘𝖙𝖘 𝖙𝖍𝖆𝖙 𝖙𝖗𝖚𝖘𝖙𝖊𝖉 𝖚𝖘 𝖜𝖎𝖙𝖍 𝖙𝖍𝖊𝖎𝖗 𝖜𝖔𝖗𝖐, 𝖇𝖗𝖔𝖚𝖌𝖍𝖙 𝖙𝖔𝖌𝖊𝖙𝖍𝖊𝖗 𝖇𝖞 𝖆 𝖛𝖊𝖗𝖞 𝖉𝖊𝖊𝖕 𝖆𝖓𝖉 𝖕𝖊𝖗𝖘𝖔𝖓𝖆𝖑 𝖙𝖍𝖊𝖒𝖊. 1. The entrance to our exhibition hosted by @northerncontemporary , custom painted vintage church pew by @w.t.hanchar 2. Cailleach Bheurra Wm. Tyler Hanchar Mixed Media; Ontario Red Clay, gold leaf 3. Drawings by @_annateur - 👁️ by @_______fragments 4. L-R: Diana basin by @celestehanchar - ‘confession’ by @edenbakunawa - Christ at Auction (After Rembrandt) by @mattgarby - Let this be my last confession (church pew) by @w.t.hanchar 5. Hagia Sophia, handpainted cobalt on ceramic tile by @celestehanchar - Fallen Angel by @w.t.hanchar 6. Metastasis (drapery installation) by @itsameliav - Madonna Mia by @sevanichkhanian along with her accompanying installation - coralcandelabra by @w.t.hanchar - 𝒔𝒉𝒆𝒍𝒍𝒚 by @celestehanchar 7. Via Dolorosa - 𝑀𝒶𝓇𝓎’𝓈 𝒲𝒶𝓎 𝑜𝒻 𝒮𝓊𝒻𝒻𝑒𝓇𝒾𝓃𝑔 by @celestehanchar 8. Mary Magdalene in Ecstasy By @celestehanchar - Choose Wisely (Grails) - a collaborative installation by @celestehanchar @mowtinsnek @rose.sevhan @joannadavala @zena.nahas 9. Spiral of Prayers 🌀 by @2formstudio 10. 𝒔𝒉𝒆𝒍𝒍𝒚 by @celestehanchar - Metastasis by @itsameliav 11. Peering through 👁️❤️‍🔥 12. MARTYR By @w.t.hanchar Thorn of Sidr l & ll by @_______fragments The Horned God Died For Your Sins by @w.t.hanchar Shot on Kodak Gold 35mm by @w.t.hanchar