CCI-newsletter-1985-50-March-April

MARCH/APRIL 1985

News

Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4

Telephone 680764 / 603070

CONSULTATION There will be a series of consultation meetings with craftsmen in May this year - specifically on 15th,' 16th and 17th.

Craftsmen will remember that in the preparation of the general strategy for the craft sector for the Minister of State in 1983, the Council consulted the "Grassroots" through regional meetings organised by member organisations of the Council. It proved a very helpful and positive exercise.

The general principle of a continuation of this process of consultation on a periodic basis is accepted, certainly for trial.

The meetings will take place in May in Dublin (15th), Kilkenny (16th) and Limerick (17th) and will be organised with the aid of local guilds and associations. Any craftsman may attend, but the matter of topics for discussion will be dealt with through the organisations, guilds and associations which are members of the Council.

The Council itself will put forward some topics for the agenda for each meeting.

These will be topics on which it believes consultation would be valuable.

for their topics and these will in fact be with the Council about the time of publication.

Organisations have already been asked to contribute to the agenda topics which Your own guild or association will they see as being important for wide already have been in touch with you, if debate. However, the topics which will be you are a member. To those readers who on the final agenda — each of the may not be a member of any guild or meetings will have the same agenda — will association of craftsmen, please check be national topics rather than regional, with the Council for details of the venue though they may well have a regional and time if you want to attend these origin. The intention also is that topics meetings. will be positive and progressive for the sector rather than gripes.

Naturally only a limited number of topics can be discussed in the time span of each meeting.

All craft organisations which are members of the Council have already been asked

A.G.M. The date of the Annual General Meeting of the Crafts Council of Ireland is 26 June 1985, venue and times subject to confirmation.

Jerpoint Glass, winners of the IDA trophy at the 9th National Crafts Trade Fair were presented with the award at a reception at the IDA offices.

Pictured are Keith and Kathleen Leadbetter with (centre) Mr. Pat O'Brien, Executive Director, IDA.

LECTURE Mathias Ostermann, the Canadian potter will be giving a lecture (as already mentioned in the Jan/Feb issue) to members of the Craft Potters Society of Ireland. The lecture will be held at the National College of Art and Design, 100 Thomas Street, Dublin 8, at 7.30 pm on Tuesday, 30th April 1985.

TEXTILES IN THE ART AND INDUSTRIAL DIVISION

A.D. was presented by W. T. Smithies in 1903. These fragments also came from burials. As with the Egyptians, the wool and cotton here, are coloured with natural vegetable dyes, but they achieved richer and stronger colours. As with the Egyptians too, the garments were generally woven in one piece, but some colours were worked separately causing preservation problems today. In this small collection, though, there are examples of plain and double-cloth weave, brocaded wool, tapestry and fine and coarse embroidery.

The Textile Study Room of the National Museum has been re-opened. The textiles there, which come from many parts of the world, range in date from the 3rd to the 20th centuries. Like any other collection in the Art and Industrial Division, this was amassed with the specific intention of showing the history of the subject. It must be emphasised, though, that this room does not include material from either the Irish Antiquities or Irish Folklife Divisions of the Museum.

To those of us who dislike the secondary place given to textiles in official histories, it is heartening to note how important textiles were to the early fathers of the National Museum of Ireland. Before the first stone was laid, and before T.H. Longfield was appointed as the first professional officer to deal with "Art and Industry ', the Director spent £54.80p on sixteen items of embroideries, silks etc. principally from Turkey, Persia, Bulgaria and Greece. Obviously he got reasonable value since some of these items are of sufficiently high quality to be still on display today! After Longfield's appointment a collection a Resht work was purchased and then, the following year, 1880, he purchased a large collection (166 pieces) from another London dealer.

This was made-up of samples of silk damasks, brocades, velvets, embroideries and silk applique, mainly of the sixteenth —seventeeth centuries and principally of European origin. The fact that Longfield's ambition was to purchase only the best is suggested by one of these embroideries which is on display. It is dated to about 1490-1500 and was believed to be from a vestment worn by a chaplain of King Ferdinard of Aragon.

The Museum was fortunate in that it was established about the time that the systematic exploration of the GraecoRoman and Christian burial grounds of Egypt was started. Akhmim, the site of the Greek city of Panopolis, was discovered 315 miles south of Cairo, in Upper Egypt in 1884. The systematic excavation of this city which had been known throughout the civilised world of its day for linen manufacture, produced a remarkable volume of textiles. In 1888 the Museum purchased seventy seven fragments, dated between the 3rd and 12th centuries. The range of techniques illustrated in this collection is interesting.

There is the usual Coptic mixture of tabby weave plain linen woven with purple (and some blue) woollen tapestry ornament. Supplementary wefts were used effectively to give a satin effect; or to emphasise the tapestry motifs giving almost an embroidered effect. There are also weft threads of various coloured

One of the most exciting pieces historically in the room is a blue and cream silk damask probably made in Lucca, near Florence, about 1300. The design is possibly a Garden of Paradise scene with two ape-men, birds, squirrels, fish, and bowls of foliage. The importance of this piece lies in the fact that Lucca was the first Italian, and Western European city to welcome skilled Saracen craftsmen when supplies of silk from the Middle East became irregular due to the Crusaders. The piece is also of major importance because it documents the break-away from the static, conventional, Byzantine-style designs to a more free pattern. This beautiful silk, and a sixteenth century multi-coloured silk and gold, Persian brocade were presented to the Museum in 1937 by the Friends of the Detail of a tapestry hanging, or garment trimming. Late Chimu Period (c. 900— 1100 AD), Peru. National Museum Textile Study Room. Photo: NMI. wools looped on white linen. Embroideries include a sixth century coarse linen worked with colourful darn stitch and twelfth century fine white linens embroidered with blue silk. Two bags of sprang dated to the 4th—6th centuries are remarkable because of their colours and designs.

But Irish people had been interested in mummies and mummy linens long before the 1880s. Indeed Edward Clibborn lectured to the R.D.S. in 1838 and 1839 on the wide variety of linens found on mummies. A scrap-book purchased by the Museum from a Dublin dealer in 1923 may have been assembled for Clibborn's lectures. Yet at the back of the book ar are a few extra examples, including two from the mummy discovered in Marsh's library in 1888!. The newspaper report on the discovery suggested that the mummy might have been brought to Dublin in 1638, that because of lack of space, it was pushed under the stairs (where it was found) and forgotten!

The principal collection of the Peruvian textiles dated between about 600—1100

"Cloth of Gold," crimson figured velvet on a yellow ground. Venetian, fifteenth century.

National Collections. Another important piece which that Society presented to the national collections is a Greek liturgical embroidery of the seventeenth century. The Crucifixion and Deposition scenes there are embroidered with real gold and silver, and the finest of silk threads on cream satin. Seed pearls are used to outline the haloes.

Obviously everybody interested in the subject is going to have their own favourite pieces in the room. Personally I get great pleasure from the fifteenthsixteenth century Italian velvets. Others may prefer items like the fifteenth century English altar front; the ninteenth century Java batiks; the seventeenth century Spanish silk applique and IndoPortugese embroidered quilt or the Persian lamps of about 1600 A.D. The Irish textiles on display range from seventeenth century stump-work and a purse woven in silk and gold and dated 1690, to Mountmellick work. There are also interesting examples of Irish linen and poplin on display. The latter includes a piece from the length woven by Atkinsons in 1840 for Queen Victoria's trousseau. It is said that for this Atkinsons used "swivel shuttles", a method now reputedly forgotten. The design is of silver roses with red centres, leaves and stalks, against a cream figured ground.

KILWORTH GRADUATES A nice bit of publicity for Primary Print appeared in the Sunday Tribune Colour Magazine centrefold on St. Patrick's Day. Ger O'Sullivan and Conor O'Brien are producers of, among other work exclusive fashion lengths for designers.

They have a number of people working for them and they typify the sort of entrepreneur craftsmen that Kilworth Craft Workshops was set up to encourage.

They were already selling their work individually when they came to Kilworth and haven't stopped. Their Midleton studio is busy.

Another busy graduate is Mel Bradley whose studio is in The Tower at the Enterprise Centre, Pearse Street, in Dublin. Thoroughly professional, she also does some fashion work, her bread and butter coming at present from hand painted scarves. A recent commission is reported elsewhere.

Also in The Tower is Angela Forte, weaver. Not the most rewarding medium, Angela has made it work for her by producing small pieces — hangings, rugs, and has undertaken a number of commissions.

Terry Dunne, a weaver, is the third graduate of Kilworth in The Tower at the Enterprise Centre. He has been almost exclusively absorbed in commission work and three tapestries for a church are close to completion.

The term "study room" is purposely used so that people who visit it will expect a room "packed with material.

So as to make more material available there is one "special exhibition" case.

On display there at present is the mitre designed by Sr. Bonaventure Smith and embroidered in the Poor Clare Convent, Kenmare in 1902. That will be followed shortly by a fourteenth century liturgical embroidery. We would welcome requests from people, interested in special aspects of textiles and embroideries, to have examples from the reserve collection displayed temporarily in this case. This is a similar offer to that made to those interested in ceramics. For them the case now displaying Inca water-bottles could exhibit examples (if they exist) of their favourite style of ceramics from the reserve collection.

Currently working in Kilworth is Anna Kee, the potter, but this is a temporary arrangement as she hopes to move studio to Cork city shortly, to the new Shandon Butter Exchange Complex.

A note of warning, though, to those who might like to browse in the Textile Study Room. As textiles are better preserved at a low temperature, you should be prepared for the cold.

Michael Byrne has a studio, shared with NCAD graduate Mark Dwyer, in the East Wall Enterprise Centre in Dublin in which he produces his porcelain lights which are beginning to get established.

Mairead Reynolds

Rose McGonagle has her studio in Kilworth in the Old Church and continues successfully producing her range of silver jewellery.

Brenda O'Brien has shown her ceramic lamps at a number of craft fairs with success and remains very busy at the studio in Kill, near Naas, but hopes to re-locate to a more central studio in Dublin,

Catherine Gallagher, back in her native Donegal, has now a studio in Ardara and is into production of her decorative ceramic works again.

Romy Gray after a period in Holland is working at Dun Laoghaire School of Art and producing exhibition pieces from her home based studio.

Lucy Braddell returned to the NCAD last year to do a three year design course; Adrienne Hume is doing a PTA course in Dublin, aiming eventually to teach printing techniques in developing countries and Deirdre Campion is lecturing in textiles in both Galway RTC and Limerick School of Art. Iza Corcoran has a studio in the new Midleton Lodge Craft and Small Industry Complex in that town and her pottery is in increasing demand.

Jo Healy was also a tenant in Midleton Lodge but a serious accident has held up her work and she is only now beginning to print again in a small way.

The two jewellers who had the benefit of some months training in the Royal Danish Academy during their stay at Kilworth in 1983, Gay O'Connor and Heather McFadden are working on commissions, the former from home in Dublin, the latter from her worksh'op in Newtownards.

Eight graduates have left Kilworth just recently with plans varying from the majority setting up production studios to a minority who may either do further training or seek to teach. The net gain will be to the production side.

KILWORTH SELECTION The Selection Committee in February chose five young craftsmen to participate in this years programme at Kilworth Craft Workshops. It is expected that a number of other participants will be chosen to enter the programme at a later date.

Those chosen are two potters, two weavers and a silversmith.

DESIGN WEEKEND Clare Craftworkers Association is never at rest. No sooner was the multi-media exhibition at the Belltable Arts Centre, Noah's Ark, over, the floodwater subsided, than they had announced a Design Weekend based at Ballycasey.

A team of four tutors was organised: Jenny Hoon, Joyce Vigar, Liz Clarke and John Grace. While the tutors' individual interests were in the disciplines of weaving, printing, knitting and drawing and largely textile based, the workshop was concerned with general design work.

It was a very intensive workshop with the team of four tutors working in relays.

The intention behind the exercise was to stimulate and improve design standards with up to the minute ideas and exercises.

When your reporter was there Joyce Vigar and John Grace were conducting an exercise in visual interpretation of a set piece (and what a "jumble" of reference points) but not with pencil and paper, rather with paper only, paper and knife, paper distressed by various means. The tutors were working everyone quite hard but they had the tricks, the way of making one look at things in a different way, of responding to visible "facts" not by using what one would normally use (pencil, brush and so forth) but by consciously not using, at least initially, ones normal means of interpretation, of setting down the image.

Likewise in the other studio Jenny Hoon •and Liz Clarke were leading groups in colour and texture exercises.

By the end of the weekend everyone present would have been exposed to each of the tutors, would have had their normal approach to design from visual/mental interpretation pretty well turned inside out and back again, so that their approach to design would have attained a new set of references to its advantage

Right top: Liz Clarke working with participants on knitting fabric textures.

Below: Left to right, A/lie Kay and Sisters Clare and Frances of Sion Hill, discussing colour matching with Jenny Hoon.

Bryde Glynn and Mary O'Donnell working with tutor Jean Vigars direct cutting paper designs with no intermediate drawing.

Ararat, a hanging by Euka Sebald. Noah's Ark Exhibition.

The attendance was less than hoped, and the shame of it was that in the main it was those who were already mature craftswomen (only one male present — a young student from Limerick) who attended.

Their maturity showed in that they did attend; they did, despite their practical knowledge, their reputation as exhibitors in their various disciplines, still feel they had something to learn. Some attendance from Limerick School of Art and Design — otherwise it seemed that out there beyond Ballycasey that weekend most craftsmen in the disciplines involved were satisfied that moments such as this would not be for them.

And we may wonder why every report harps on the necessity to improve design.

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

Telephone (094) 81156

THE REGISTER During the series of consultative meetings in various venues around the country in 1983 when the Council was drawing up its Strategic Plan for the Craft Sector 1985-1990, one of the key suggestions to come from the meetings was that of a Register of craftworkers.

Such a Register is seen as an absolute necessity together with a clear definition of what constitutes the limits of the sectors and its constitutents.

The Council has already taken a decision that it should devote its concern to professional and part-time professional craftworkers.

To give effect to all this the Council has initiated a Register of Professional Craftworkers which will comprise of fulltime and consistently producing part-time craftworkers who will be able to avail of any future benefits accrueing from membership of the Register.

It should be appreciated that noninclusion in the Register of Professional Craftworkers will not prevent a craftworker being included in any other register or list compiled by the Crafts Council.

Any Craftworker who has not been notified of inclusion in the Register and who feels such inclusion is warranted, should make application to the Crafts Council at once.

Bowl by Sonia Landweer. Crafts Council collection. Photo: David Cripps.

As with the first Crafts Fair, there will be exhibitions and demonstrations.

Details and application forms will go to the Crafts Council's mailing list during July — this list will include all previous exhibitors at both the Council's fairs.

As usual, new potential exhibitors will have to be assessed by a Selection Committee.

The World Crafts Council European Conference seems destined for Crete in September. Not all details have been worked out but the basics are already there: 1. Dates

THE GREAT CRAFTS FAIR II Those interested might make a note in their diaries that The Great Crafts Fair I will be taking place on the 6th — 10th November in the Main Hall, R.D.S. in Dublin. This will, as with the first such fair in September last year, be open to the general public to whom craftsmen will have the opportunity of selling direct. It is the chance for the general public to see the sort of fine products they hear about and read about and see on television at the time of the National Crafts Trade Fair which they are not allowed to attend.

W.C.C. CONFERENCE IN CRETE

HAUGHEY LAUDS CRAFTS I n the budget speech of the Leader of the Opposition Mr. Charles J. Haughey T.D., he had this to say: "I recently had the opportunity to visit the two exhibitions in the R.D.S. in Ballsbridge. One was the Aer Lingus sponsored "Young Scientist of the Year" exhibition, the other the "National Crafts Trade Fair". Anybody visiting those two exhibitions and seeing the sheer brilliance, the competence and the Initiative of our young scientists and seeing the quality, attractiveness and imagination of small firms and individuals engaged in the craft industry in every part of the country can only ask in amazement why a country which has such a wealth of natural ability is not one of the most prosperous in the world."

— Arrival and check-in: Saturday 14 September.

— Workshop (spread all over Crete): 15-20 September.

— Meeting of all participants in Kolimbari (distr. Hania, west on the evening of 20 September.

— Conference in Kolimbari at the Orthodox Academy of Crete: 21-22 September.

— Departure 23 September.

2. Workshops: Traditional — TR.KER.A: Big Cretan j a r s Thrapsano — 15 — camping.

— TR.KER.B: Big Cretan jars Margarites — 12 — camping and houses.

— TR.KER.C: Other traditional ceramics — Kolimbari — 8 — houses and hotel.

— TR.WEA A: Weaving - Anogia - 20 houses.

— TR.WEA B: Weaving - Kalivianis - 12 — houses, guest house.

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TR.NEE A: (-Needle-work): embroidery, knitting, crochet, macrame, etc. — Kato Asites — 10 — houses, hotel.

TR.NEE B: Arkalohori - 6 - houses.

TR.NEE C: Capanelli-work Gavalohi — 6 — houses.

TR.WOODA: Kisamos- 12-houses, hotel.

TR.WOODB: Rethimnon- 10-hotel.

TR.BASKET: Mixorouma - 8 camping, houses.

Workshops: Modern

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MOD.KER: A-B-C-D-E: 5 workshops of 6 participants each in the Chania and Iraklion area.

MOD.TEXTILE A: Weavers Co­ operative Chania — 10 — hotel.

MOD.TEX.B: Spandakou workshop — Rethimnon — 5 — hotel.

MOD.TEX.C: Charakas - 5 - houses.

KITE BUILDING: China or Rethimnon area — 10 — camping.

LAND ART: Samaria area - 15 camping, houses.

All together the workshops will be able to receive 194-200 participants.

3. Costs: U.S. Dollars A. Workshops: including workshop fee, accommodation breakfast and one meal: camping or houses: 140 guest­ house or hotel: 200.

B. Conference: Conference fee: 30.

Accommodation & breakfast & one meal: in the Orthodox Academy or in a tourist hotel: 100.

A better class hotel will be more expensive. All accommodation in double rooms.

September is the high tourist season still, so prices are not cheap.

4. Travel Travel to and from Crete as well as on the island is the participants responsibility.

LIAM O'NEILL On March 5th, woodturner Liam O'Neill was honoured by the Royal Dublin Society as winner of the special award at the 1984 Crafts Competition by a two week exhibition of his work- in the Society's library. The exhibition was opened by Mr. Robin Lewis-Crosby, President of the R.D.S.

CHURCH COMMISSION

IRELAND OF THE WELCOMES

Some months ago the Council was approached by a Dublin firm of architects, Keane Murphy Duff which was completing a new church. As is often the case a kind donor has given money for a set of Stations of the Cross and it became apparent that the Parish Priest was likely to spend it on a standard Italian made imported off the shelf undistinguished product. And no blame on the reverend father, indeed, for he did what many do and went to the retailer who did not offer him any Irish alternative, nor suggest the possibility of his spending the donated money on something Irish.

The March/April issue of Ireland of the Welcomes was given over exclusively to crafts, from the hand making of whetstones in Lisnaskea to stoneground wholemeal flour in Kells, Co. Kilkenny powered by a waterwheel. In between, almost everything in the craft world in Ireland and with beautiful illustrations.

The only criticism one would make was the attribution of Mary Landy's definitive rush basket to a cooperative group, otherwise it was an edition to be kept, as much for reference as for its intrinsic merit as an example of a well crafted publication in which the standard never flags and which is always of interest and makes no concessions to gross leprechaunary which could so easily happen.

The architect felt a better solution could be found and the Council agreed. Within the budget it was felt obvious that the solution would have to be in the textile area as wood and stone and enamel would all turn too expensive.

A number of craftswomen were suggested and it is now learned that Kilworth Craft Workshop graduate, Mel Bradley has been appointed by the Parish Priest to produce a full set of Stations handpainted on silk!

Readers will remember that while still at Kilworth, Mel with Deirdre Campion produced a set of vestments to the commission of the Kilworth Parish Priest.

We look forward to seeing the work in situ in the new Ballyboden church in time.

IRELAND '85 Herr Christian Tisch hauser of Zurich and a lover of things Irish especially if they are related to the South West has organised an exhibition in Zurich for which he has raised a lot of Swiss money which will be called Ireland '85 and which will feature a number of artists and craftsmen from a very limited area of West Cork, Skibbereen, Schull and Ballydehob. Included are ceramic sculptors, painters, photographers and potters — a narrow enough representation for an imposing title. Herr Tisch hauser sees the exhibition and the complement­ ary workshops and lectures on Irish culture and traditions to schools and art colleges as a cultural advertisement for Ireland.

The exhibition, for which sponsorship is being sought here, is scheduled to take place in late May.

Interestingly, though perhaps not surprising, it has tremendous pulling power as an advertising medium for mail order — not merely in terms of response but in terms of orders placed which is what mail order is really about.

Not exactly cheap space, so not to be used lightly, but for a well researched product with solid base its readership represents a valuable, sensitive and reasonably well heeled market.

ATHY EXHIBITION Junior Chamber Athy plan a House and Home Exhibition in which they intend having a craft section.

The venue will be the Athy Lions Centre, the dates, Saturday 4th and Sunday 5th May. Times 2 p.m. to 8 p.m.

There will be 10 stands available for craft enterprises. Stands measure 10' x 8 ' and will, of course, just be shells. The stands for craft enterprises will cost £30 for the weekend (as against £100 for the industrial stands).

Direct sales to the public is a main aim of the exhibition as is the promotion of retailers in Athy and surrounding areas as being first class home and home — related suppliers and to assist home buyers with regard to building financing, heating and decorating a new house.

They promise extensive promotional coverage.

The contacts are Jacqueline Kelly at 0507-26668 and Catherine Cusack at 0507-31716, or at the Junior Chamber at 0507-31182.

CORK POTTERS 800 The Society of Cork Potters has planned an exhibition for the Cork 800 celebrations (Cork City is 800 years old this year in case anyone who does not read de payper has missed that fact) which will be titled "Clay to look at, clay to use". As the title will indicate the exhibition will cover on the one hand decorative and fine art ceramics, and on the other hand table ware.

The date — 5th November.

It is intended to have a seminar, open to all potters, with demonstrations and slides by Walter Keeler and Jim Crowley.

CERAMICS IN TAIPEI Adrienne Crowe, as a follow on from an exhibition she took part in while in Australia in 1982, has been invited to contribute to an International Ceramic Exhibition in Taipei in China next Summer, and the organisers have asked her to consider "allowing" the Fine Arts Museum to purchase the items she may send.

She has also been invited to show during this years Wexford Festival.

INTERNATIONAL CONFERENCE Indonesia and the Indonesian National Crafts Council will be the host to an International Crafts Conference and Exhibition in Jakarta from 20th - 24th August 1985 followed by the 9th World Craft Council Asian Assembly in Bali.

The Conference theme will be The Role of Crafts in the Development Process'. Co-hosts of the conference will be the Department of Industry of the Republic of Indonesia.

The registration fee is US $255 before 20th May. Hotel rates vary from US $86 per night to US $43.

Bergere Table Loom including lease sticks, 2 warp holders, 2 flat shuttles - £45 Boat shuttle with bobbins — £6 Inkle Loom - £ 1 8 "Inkle Weaving" 212 pages. Full weaving information by Helene Bress — £6 o.n.o.

Marie Foley, whose ceramic works are highly acclaimed, assembling one of her porcelain sculptures for her recent exhibition in Kilkenny.

QUOTES I don't support dull or boring design but I do take a stand against the ruthless exploitation of people's weaknesses for visual and haptic signs which many designers are engaged in. The festival of colours and forms and the entertainment of form sensations enlarges the world's chaos. To outdo each other with new design-sensations leads nowhere.

The alternative is to return to simplicity.

That requires working hard and seriously.

Good design means ac little design as possible. Arriving at a really convincing harmonious form by employing simple means is surely a difficult task.

Dieter Rams. Germany.

Until very recently the concept of modern design represented by so called "design for functionalism was dominant in the fields of industrial and architecture.

This type of design started at the beginning of this century seeing mass production by machine as a positive th ing, disposing of extra adornment and eliminating all elements not functionally

essential to express the beauty of the new age through the bare minimum . . . while on the one hand this concept became so dominant as to almost smother the world with a single style, on the other this lost for form its early appeal and demand for variation began to grow . . . post modern design began to appear from around 1975 indicating a first turning of attention to considerations of regional characteristics and aborignality.

Satoru Asakura on the issues facing Japanese design — Design Camp '84.

Japan.

"The wisdom of nature is far superior to any technology developed by man . . .

Beautiful things are often functional".

Luigi Corain "Bio-designer".