An Interview with The Malahat Review by Rami

In anticipation of the publication of “Timepiece” in April 2019, I was interviewed by Emma Skagen at The Malahat Review. We talk about the poem, inspiration, and process. Read the interview.

Learn about The Malahat Review Open Season Award here. “Timepiece” won the 2019 award for poetry. Our work will be published in Issue #206, to be released in April 2019.

Copies — and subscriptions — can be ordered here.


An Award for “Timepiece” by Rami

I can barely begin to describe how it feels to win The Malahat Review’s Open Season Award for 2019 — I am beside myself with happiness, gratitude, a sense of relief too. This will be my first published work, and to have it met with such generous acknowledgement is just amazing.

Poetry contest judge Shane Book had this to say about Rami Schandall's winning poem:

"To read 'Timepiece' is to experience both the tumbling feeling of Time’s non-linearity and the relentlessness of Time’s passage. This is a work of elegant images, linguistic feints, tonal filigree, and scraps of narration—all stitched together with a serious precision."

Read about the prize, and the fiction and creative non-fiction winners here. Our work will be published in issue #206, to be released in March 2019. Copies — and subscriptions — can be ordered here.

Thank you Shane Book and The Malahat Review!

© Rami Schandall 2019 Drawing from ‘Timepiece,’ pen, paper, and digital collage.

© Rami Schandall 2019 Drawing from ‘Timepiece,’ pen, paper, and digital collage.

FOLD: Working in three dimensions by Rami


As a graphic designer, I spend a tremendous amount of time working in two dimensions — designing for paper and, more often, for screens. There is nothing wrong with this but it does tend to over-wear those creative muscles after a time. A good friend invited me to take a ceramics class at Studio Dalmori with her a few years ago. At that point, my artwork was moving in the direction of drawing and painting, and weaving — which is not exactly two dimensional but is mostly about flat pattern and imagery. Texture too. In any case, I went along mainly to spend some creative, social time with my friend, not super enthusiastic about hand-building ceramics but willing to learn. I had no idea it would grab my imagination the way it has.


I have been working with Joni Moriyama at her open studio for nearly three years now. I have been playing primarily with slab construction, in some cases carving moldes with graphic patterns (running deer, chrysanthemums...), sometimes working with globular forms, and most recently, working with draped and folded sheets of ceramic that play with a sense of fabric and drape.

I will present a few of these threads of inquiry over the next while. Today I am sharing documentation of my Fold series, thus far. This is an ongoing exploration, two new pieces glazed yesterday and not yet fired. I love the feeling of suspense, waiting to see how these will turn out! In the meantime, here are the first four experimental pieces. Also, the geometric woven fabric used in some of these images is a fabric I wove in 2016.



Fold 2


Fold 3

 Fold 4