CCI-newsletter-1983-42-November-December

NOVEMBER/ DECEMBER 1983

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Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4

STRATEGIC PLAN At meetings in Kilkenny, Cork, Ennis and Dublin, the views of craftsmen and craft organisations were sought by the Council in preparation for the drafting of a national strategy for the crafts sector leading into the next decade and the Chairman and Vice Chairman as well as the Executive Officer and Crafts Officer attended the meetings which are fully representative of many sectional craft interests. In all some one hundred and sixty craftsmen members of the various craft organisations attended the meetings which were very positive in content.

While the emphasis varied somewhat from venue to venue, the overall consensus was similar and the concerns largely the same as were some of the suggestions for the future of the sector: training, public education and promotion, marketing in its wide context, and information resources were paramount.

The Council will be taking all the views expressed into consideration in the preparation of the final document for presentation to the Minister of State in March.

Many hopes depend on this document and more especially on its eventual, and not too long fingered, implementation.

Brian Clarke participating in the silversmithing workshop held in Kilkenny Design Workshops during the European Crafts-Conference.

Michael Kennedy, Sligo and Peter Wolstenholme, Courtmacsherry, unloading pots from a soda raku kiln, opened at a temperature of 1150째C, and then placed in dustbins containing wood shavings and newspaper to achieve reduction of the glazes. Beautiful lustres of red, blue and yellow were achieved.

Telephone 680764 / 603070

EURO

CONFERENCE

RETROSPECTIVE As the workshop leaders will be making their comments on their part in the Conference, and the workshop element in particular, the Newsletter thought that some other comments made during the Conference and in subsequent dialogue would be of interest to readers — in particular to those who were not at the Conference.

One of the more delightful comments was that of Jan Walgrave explaining Land Art which he suggested should be "a respectful conversation with the landscape and its taste makers: air, wind, sunshine, rain, in which the artist shows his human, unfunctional, aesthetic, engaged presence". Afterwards, he suggests, "something of the artist must remain, but without disturbing the landscape".

Ceramacist, Tony Franks of Scotland, in his talk during the Conference, said that he saw the workshop's purpose as a sharing of .information and that from them each participant would return home stimulated and with a willingness to explore further. Speaking on what he termed "the Cliff Party", a group of ceramacists who took a seashore cliff as their raw material he lauded their argumentative attitude combined with such a sense of fun. Despite their attention to the cliff, in wind ano rain, the product of the workshop was the argument rather than the cliff.

Over four hundred test pieces were developed for the porcelain workshop at Vivienne Foley's studio in Clare, which Judy Greene, a participant and spokeswoman felt was "too short". It was a criticism levelled at a few workshops — nevertheless her feeling was that everyone left with a concrete result.

Lillemore Petersson's choice of wet bricks — unfired clay bricks straight from Castlecomer — for her workshop at the NCAD brought a new sense of respect for the simple brick, not to be looked on ever again by those participating as 'a mere brick' but something which had a potential beyond the obvious. The work­ shop was called Architectural Ceramics, but her own preference was for a title such as Environmental Ceramics which widened the relationship between ceramic art and architecture which has its own relationship with what is around it.

Australian spokeswoman Heather Darrough described the space dyeing workshop in Galway as 'great'. In practical terms everyone found time to make one

weaving in addition to absorbing a\ great deal from their hard working leader, Mary Resteaux. The dedication of those participating is indicated by their feeling that the visit of the Irish Guild of Weavers, Spinners and Dyers broke their concentration. "The group feelings were very intense and all will leave with a better understanding of the possibilities of their own work". In addition to Irish craftsmen, there were also craftsmen from UK, Switzerland, Israel, Norway, Sweden, Denmark and Greece.

The break of concentration was also commented on by Dane Inge Svendson in relation to the visitors to the Ballyvaughan miniature textile workshop.

This workshop was based on making and then translating into Miniature Textiles, working drawings and other preliminary design exercises arising from the unique landscape of the Burren.

This workshop is probably the only one from which an exhibition is planned.

Each of the craftsmen plans to make a work for exhibition based on the experience there.

Patricia Jorgensen reporting on the printed textile workshop led by Finnish designer Markku Piri found it 'very special', the small size contributing to its success.

The decision to complete three works, a magic carpet, a banner and a printed head square, meant concentrated work and working under pressure. It was one of those workshops where general agreement suggested it should have been longer.

The brief of the "lace" workshop was the development of shape through the handling of fibres — it was not lace per se but an examination of techniques and a changing of the whole approach to the subject. This very much reflected the attitude of the leader Verena SeiberFuchs of Switzerland who is a textile artist rather than specifically a lace maker. There was an opportunity for cross fertilisation of techniques at An Grianan as traditional lace workers attended a small workshop run in parallel.

Marc Goldring, the US leader of the leather workshop at Inistioge saw his mission and that of the workshop as being one of exploring the expressive possibilities of leather as a raw material without being concerned with any functional purpose. The word 'astonished' was his comment for the results which clearly delighted him.

One of the three Danes, along with Belgian, French, Greek, Irish and Dutch jewellers and metalsmiths who took part in the refractory metal workshop spoke for all of them when she stated that they

felt that their workshop was the best one of the Conference. They became a group, a "family" with a clear bond wth leader Anne Marie Shillito (who came with her mother and her baby).

While they felt the facilities at the NCAD were less than adequate for professional craftsmen they had nothing but praise for the technical help they got from the department assistants. The choice of subject they felt to be important — working with titanium, niobium and tantalum was for many an important and new experience and the general felling was that in the short time they managed to cover a lot of technical aspects and many produced interesting results.

Denmark again featured (in the ample person of lb Andersson) in reporting on another metal workshop — that of silver, which took place of KDW. It was a very small workshop of seven including leaders, but they produced some fine finished work — much of the theme of the clock, lb Andersson felt that more participants should have been of a higher professional level.

Another "theme" workshop was that of hot glass which took place in the Jerpoint Studios of Keith Leadbetter. The theme arrived at after much discussion (while the group of Dutch, Belgian, Swedish, Greek, Irish, UK and an itinerant party of French glass blowers became a cohesive working party) was that of blowing a group of flowers. The main interest in the reported happenings was the development of an idea or theme — especially one which might be a strange one for glass — and then combining in finding a technical way to do it.

The surprise of the batik workshop was apparently the event itself, for some reason it was unexpected.

In another area of textiles, that of textile fibre in the widest sense, Mary O'Donnell spoke of the workshop in West Cork which appeared as much land art as textile art. It was essentially an exercise in taking weaving away from the, loom to experiment. In using the various materials: spinnaker cloth, old jeans, sawdust stuffed sacks, yellow flexible plastic piping and so forth to interact with the natural surroundings of a very beautiful country­ side, there was a certain amount of clarity of purpose lacking. The interaction of persons was considered "tremendous and it will change everyone to some extent, especially their relationship with what is about them".

There was an added interaction to this workshop in its visit to the ceramic workshop at Courtmacsherry and the

building of a great kite to fly above the cliff. The fact that it never really got airborne, nor the cliff really finished was of less importance than the attempt.

Perhaps this in many ways finished up the workshops — the thoughts, the interactions, the beginnings of a creative journey being more important than a completed, packaged, gift wrapped ending.

FRENCH REPORT The French equivalent of the Crafts Council of Ireland, the Union Les Maisons des Metiers d'Art Francais brought with their delegation a "team" of journalists to evaluate the European Crafts Conference in September. And what a fine production it turned out to be: 26 pages of colour and black and white photographs, with text, from all the workshops, and if the answers to some of the questions were just a little edited to give the publications its summing up line "You've just summed up the battle we've been fighting in France for the last three years", then good luck to it, because it managed to reflect much of the flavour of the Conference and to see it in the context of Ireland. The opening paragraph: "Ireland: a swirl of coloured images. Crystal clear light, green landscapes which become translucid in the distance. A soft, whimsical climate and everywhere those peaceful pubs. . ."

Well, those "mellifluous and unassailable heavens" made their imprint on a good publication. Congratulations France.

REPORT SPONSOR Allied Irish Banks have kindly agreed to fund a thirty-six page report of the European Crafts Confernece in an edition of 350 to 400 copies. The format agreed, in order to remain within the budget, is a forward by the Chairman of the European Board of World Crafts Council, Dr. J. J. E. Salden, and a summary by Prof. Justin Keating, Chairman of the Crafts Council of Ireland. Sandwiched between will be reports from the leaders of the various workshops, and a centre spread of selected photographs.

A selection of work produced by the silversmith ing workshop held in Kilkenny during the European Crafts Conference.

A section of the 'wall" created by participants of the architectural ceramics workshop held in the NCA D during the European Crafts Conference.

POTTERY CLASSES Peter and Helena Brennan are starting a series of pottery classes for both children and adults.

The classes, to be held in the Brennan's new premises, Glenageary Lodge, will be tutored by Peter and Helena Brennan and Frances Desmond.

Eight week courses for children aged 7 to 16 will be held on Saturdays starting on 14th February at a cost of IR£20.00.

Day classes for adult beginners will start on 8th and 10th February and cost IR£30.00.

Day classes for adult intermediate students commence on 8th and 10th February and cost I R£40.00.

Adult evening classes start on 10th February and cost IR£40.00.

In addition, on 9th February for IR£40.00 there will be sculpture classes.

For further information contact: Peter or Helena Brennan, 37 Northumberland Avenue, Dun Laoghaire, Co. Dublin.

Tel: (01) 800030/854409.

Ceramic sculpture by Sten Uk Madsen of Denmark. Saggar fired in sawdust to 1250°C, decorated with coloured slips. Made at the Courtmacsherry ceramic workshop during the European Crafts Conference.

IDA REGIONAL OFFICERS Under its new rationalisation scheme, the IDA, which is the body responsible for many of the grants given to craftsmen setting up in business, is regionalising its operation and from now on craftsmen should apply to their nearest regional officer, these are: Donegal: Michael Folan, IDA, Portland House, Port Road, Letterkenny.

Tel: (674) 21155 Galway: Billy Walsh, IDA Industrial Estate, Galway.

Tel: (091) 51111 Cork: Billy McCarthy, IDA, Norwich Union Building, 89/90 South Mall, Cork.

Tel: (021) 968555

Waterford: Leonard Bell, IDA Industrial Estate, Cork Road, Waterford.

Tel: (051) 72911 Athlone: E. J. Brown, IDA, Auburn, Dublin Road, Athlone.

Tel: (0902) 72032 East: Dick Doyle, Royal Trust House, 10/12 Lansdowne Road, Dublin 4.

Tel: (01) 689700

A CULTURAL ENCYCLOPEDIA Lillias Mitchell, very well known for her interest in and dedication to weaving, spinning and dyeing in this country, has written several chapters of an exciting new book "Ireland: A Cultural Encyclopaedia" which is now available in Hannasand Hodges Figgis book shops.

Miss Mitchell's contributions are on dyeing, carpet-making, embroidery, lace, tapestry, crochet, knitting and textile manufacture.

Also featured are Miss Mitchell's book "Irish Spinning, Dyeing and Weaving" and Frank Sutton's "Weaving: The Irish Inheritance".

The publisher: Thames & Hudson.

Dundalk: Michael O'Keeffe, IDA, Dundalk Industrial Estate, Coes Road, Dundalk.

Tel: (0902) 72695

The cost: £10.50 sterling.

REFLECTIONS ON THE EIGHTH TRADE FAIR With preparations for the Eighth National Crafts Trade Fair completed, there is a little time to ruminate on the process.

As has become usual, the Fair was fully booked by the closing date of 23rd September in spite of the increase in the number of stands this year from 205 to 234.

Also as usual, there have been a number of problems and since some of them seem to be perennial this might be a good opportunity to short circuit those which could otherwise arise again this time next year.

No matter how much effort is put into producing it, the catalogue takes close on six weeks from preparation to print and it is this, together with the desirable need to get invitations accompanied by catalogues to buyers as early as possible, for study, which dictates the earliness of the closing date for the Fair. Once the applications are in they have to be looked at by the Selection Committee, one or two queries ironed out, stand allocation (a slow job) made, and only after that (which all takes about three weeks) can work start on the catalogue. Even by having a closing date on 23rd September, for the 1984 Fair there was a rush to get the catalogue printed on time.

It is a fault of craftsmen, craftsmen tell me, (I suspect its a fault of people), that everything tends to be put on the long finger. In the case of the Trade Fair this means for many people that, for various reasons (many quite understandable) they leave their applications until the last moment and are then disappointed when they fail to get a stand because the closing date has passed and the Fair is fully booked. Other people complain that

they didn't get (didn't notice it!) an application form and so could not apply.

Therefore if people want a stand they should look for the arrival of an applicat足 ion form about mid way between the time the evenings start drawing in on 22nd June, and the September equinox, because the closing date is about then.

The catalogue must be printed and buyer invitations sent out about two weeks before the sun lights the furthest end of the passage at Newgrange, in order to give buyers time to arrange to attend the Trade Fair which is held about the time a stretch in the evenings starts being visible. (Craftsmen tell me they don't keep dairies.) It should also be remembered that the first step to getting a stand in the Fair is applying for it.

Applications can always be cancelled and deposits refunded provided the cancelled stand is re-sold which has always been the case to date.

The next problem, which in 1983 seemed worse than usual, is the problem of samples from first time exhibitors.

Every person who has not exhibited in previous Trade Fairs must, to comply with the conditions laid down, have samples of the product, price lists, publicity material, etc., approved by the Selection Committee. The system here is that the samples come in with the applications, all are held until after the closing date when, within about three days, the Selection Committee meets and studies all of the applications but with particular reference to first time exhibitors. Quite a few people this time failed to get samples in on time for the Selection Committee meeting and were then disappointed when stands could not be allocated to them. But there again, because of very tight time constraints it is not possible for the Committee to

wait indefinitely for late samples. So please, first time exhibitors, get your samples in with the application and get both in early. Right up to December 1983, applications for the January 1984 Fair were still arriving at the Council's office.

Since the very first National Crafts Trade Fair, the Council has pursued its policy of selection in spite of some pressures to drop it. Most would agree that the constant upgrading of standards at every level of craft activity is one of the most important functions of the Council's role in society and the Trade Fair is a real and visable reflection of this. At this stage of its development the Trade Fair is recognised internationally as one of the best fairs of its kind. Thus the value of selection is seen.

However, people whose applications have been rejected should not be too downhearted as this need not be the end of the story. The Council's Crafts Officer, Sean O'Farrell, is only too willing to meet any person and help with advice on business methods, product development and upgrading of standards in order that they may improve their business and succeed in the following year's Fair. This service is also a very important part of the Councils role.

This given some glimpse of a few of the problems of the Trade Fair from the point of view of the organisers. We would always like to hear problems of exhibitors so that together we can make the Fair run as smoothly and as successfully as possible for all of us. If the organisers do their best to organise the Fair properly, if craftsmen go along with the various, unfortunately necessary, rules, if copy is got to the printers on time and if they do their job within the time they say they will and if the buyers then come and buy wisely and largely, we should all end up happy.

Jill Breivik

IRELAND INSPIRES Under the title Ireland Inspires, CTT has again invited US and Canadian buyers to the National Crafts Trade Fair. Ireland Shop, Shop Ireland puts it neatly as they encourage the North American retailers to "Join retailers from around the world to Shop Ireland. One stop, three days, 300 gift/craft resources". They are urged to create their own Ireland Shop with merchandise from giftware, table top and home furnishing resources at the Fair.

THE LEGGE GALLERIES

TRADITIONAL KNITTING

NICHOLAS MOSSE IN JAPAN

The Legge Galleries in Ranelagh, Dublin 6, put on a Christmas painting and craft exhibition during December.

A book is to be published by Collins in England next March which, although a book of traditional British knitting, should nevertheless be of interest to many knitters in this country too.

As part of a big Irish .promotion in Japan, Kilkenny potter Nicholas Mosse was selected to-represent Irish crafts in Tokyo by the Department Store Isetan.

With the assistance of CTT, Isetan mounted in October, an Irish Goods Promotion featuring quality goods from all over the country. Nicholas Mosse Pottery was among those featured

The exhibition included batiks, bedroom linen and patchwork, lampshades, leatherwear, necklaces, painted silk, paintings, pottery prints, silver, stained glass and weaving.

Among the craftsmen represented were Mel Bradley, Declan Callan, Carmen Chesneau, Terry Dunne, Paul Martin, Jane Murtagh, Suzanne May, Hester Scott, Dominic and Leslie Scott and Linda Uhlemann.

WORKSHOP UNITS AVAILABLE Cork County Council, in co-operation with the West Cork County Development Team, have just completed a cluster of 4 x 100 square foot units in Schull, Co. Cork. The cluster has been built to the highest standards and each unit is adaptable, it can either be divided or extended upwards for extra space.

At the moment the Development Team is in the process of letting the space and is anxious to contact anyone who would be interested.

Michael Pearson has travelled around the remote fishing villages of East Scotland, North East England, Humberside, East Anglia, Cornwall, Aran and Fair Isle to obtain traditional knitting patterns. He has visited the people who practise this craft, or, in many cases, the descendants of the earlier knitters who made the original garments. For this is the living tradition that is still handed down from mother to daughter.

The patterns have all been recorded directly from the oral tradition, transposed from documents and family albums, or recreated from old photographs.

There is a useful chapter explaining traditional techniques, together with easy to follow diagrams, to enable the modern knitter to reproduce the patterns without difficulty.

Look out for "Michael Pearson's Traditional Knitting" in the book shops next spring.

• • • •

PLYWOODS PICTURE BASES STOOL FRAMES *SEAGRASS ARTIFICIAL RAFFIA • LAMPSHADE FRAMES SOFT TOY KITS • MACRAME KITS Wholesale and retail counter Please write for mail order price list

JACOBS, YOUNG & WESTBURY LTD, J.Y.W. HOUSE, BRIDGE ROAD, HAYWARDS HEATH, SUSSEX RH161TZ. Tel: Hay wards Heath 412411 Telex: 87258 1833—150 years anniversary— 1983

Irish Spinners Ltd. Co. Mayo Pure new wool bain in and coloured hand knitting yarns.

The banners which were completed by the textile print workshop during the recent European Crafts Council.

These popular items are fully complemented and backed up with stocks of—

Nicholas spent an entire year in Japan in 1974, when he won the Coras Trachtala Travel Scholarship, so he is no stranger in the place. He even speaks a "little" Japanese. He felt especially fortunate to be able to return and to renew old friendships, and possibly strike up a few new business relationships.

Kiltimagh,

For further information contact the West Cork County Development Team, County Hall, Cork. Telephone: ( 021) 26891, ext. 275 ar>d 277.

BASKETRYCANE CHAIR CANE RUSHES & WILLOWS RUG&STITCHERYKITS

Nick spent ten days in the main Isetan Store, demonstrating his throwing skills and his technique of Irish sponge decorating. Not only did Nick go, but he took a good selection of antique Irish spongeware from his mother's collection with him so that there could be a minimuseum of Irish country style in this sophisticated Tokyo store.

Telephone (094) 81156