CCI-newsletter-1985-54-November-December

NOVEMBER/DECEMBER 1985

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Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4

Telephone 680764 / 603070

GREAT CRAFTS FAIR II The Great Crafts Fair II drew a good crowd of interested citizens — Sunday especially being a very popular day. It had been hoped to lure customers to the Wednesday, Thursday, Friday openings with the chance to win a number of beautiful prizes, including ceramic lamps, hand carved occasional tables and hand embroidered cushions and such generally useful as well as finely made things. The giveaways were much appreciated but were more of a surprise to the recipients than the deserved award for turning up in great numbers.

A curious aspect of having such a retail fair at the R.D.S. was shown in a survey made during the fair of those who had come to see it: Many were under some inhibition, possibly because of the venue, that things were exhibited but not necessarily for sale.

Yes, of course, the public bought, but many of those surveyed, despite the fact that it was labelled a fair, and exhortations were clearly in line with the lessening number of shopping days left to Christmas, were still thinking inexhibition terms — goods to be viewed but not necessarily bought, and if not that, then, perhaps, not yet.

It was a colourful affair not only with 150 exhibiting stands covering a wide spectrum of craft and gift products, but with 5 exhibitions, three of which were quite outstanding and two showing reflection of a culture and style quite fine products but probably less un-lrish, even so a large proportion of exciting than in 1984. the bouquets, Christmas wreaths and decorations were made from Irish grown flowers; handmade porcelain The demonstrations again drew the dolls — real beauties and destined to crowds who always seem to like to go far on the U.S. collectors market; see how it is done. Of course the boxes made with care and precision craftsmen made it seem so easy. from 8,000 year old bog yew; new greeting cards by Irish Lavander and There were some fine new comers: Old Lace.

Flower Workshop Cong Limited was an eye opener to what can be done with dried flowers; While being a

Watching a demonstration of Tiffany Glass making at the Great Crafts Fair II. Photo: Sutton.

A HAPPY PROSPEROUS CHRISTMAS AND NEW YEAR TO ALL CRAFTSMEN

MICK C A S S O N / C O L I N PEARSON SEMINAR

POTTER'S ART, POTTER'S CRAFT AT CORK 800

On 16th/17th November the Society of Cork Potters hosted a weekend seminar with Mick Casson and Colin Pearson at the Crawford Municipal School of Art, Cork. The School provided the space and facilities, Adele Connor the catering, Pottery Crafts Limited the Shimpo Wheel and Crafts Council helped with the funding.

As Professor Justin Keating who opened the exhibition pointed out that a remarkable thing about it was that such a collection of excellent ceramics should be representative not of the whole country, as it could well have, but only one county — Cork. It was particularly appropriate that such an exhibition should be mounted in celebration of Cork city's 800th anniversary of its charter as a city.

About seventy-five potters attended, some travelling from as far as Dublin and Roscommon, and they were treated to a feast of information and food for thought. Mick and Colin talked about their work and gave very comprehensive slide shows of their pots. This was followed by entertaining and informative doubieact demonstrations, with the two potters working side-by-side at their wheels, showing two very different approaches to making thrown pots and continually entertaining with anecdotes and reminiscences and discussing technical and philosophical questions.

Mick Casson gave a lecture and showed fifty two slides on Contemporary Ceramics in Britain, with examples from the wide spectrum of work currently being done there and indicating the newdirections in which ceramics are going. A selection of video films from the CP.A was shown in the evening.

LOW VOLTAGE LIGHTING Of interest to craftworkers and, indeed, others who may have display lighting interest, will be Phil Murphy's stand (No. 222) at the National Crafts Trade Fair. He will be using new low voltage lighting units in his display.

Their compactness, white light brightness and sparing use of power will be observable.

The Newsletter will have a more detailed article on these new lighting systems in the January/February edition.

O'ROURKES Glenasmole Crafts Restaurant Dublin (Mountains) 24 For Reservations: Phone Esme at 513620

Potter's Art, Potter's Craft is indeed that, and if m o e mundane utilitarian work is overshadowed by the one off creative pieces, the craft of ceramics is, on the whole, done proud and there is production work of good artistic merit. It would be difficult to match Jane Forrester's porcelain tableware with a flowered pattern for a contemporary feeling yet an ability to fit in happily with almost any interior style. While much of the rest of the " c r a f t " room (which was, strangely, set apart from the " a r t " rooms) was at least moving away from the dull, dreary, table ware glazes one hardly notices any more, colour was still muted enough. r

The third and fourth rooms held quite a lot of pieces which did not seem to know where they belonged. Good work, and a lot of effort and striving, but one had the feeling of having seen a lot of it before. Irene Ryles "Shaman" series was an interesting concept, and Barbara Keay's decorated earthenware disc, "Islandferry", had a polished nairite about it deserving notice.

The main room was, of course, the room in which were placed the major pieces, and the judges did their work well. Once again (the last time being in the International Exhibition in Carrigaline in 1982) Marie Foley carried off the honours — and deserved because she is of international standard and her statements are personal and unique and meticulously made. The Farran Technology Purchase Prize (assisted by the Crafts Council) went to her, and one of her pieces was purchased by the Society of Cork Potters and Ceramic Art (Ireland) Ltd. for donation to the Crawford Municipal Art Gallery.

Cormac Boydell's earthenware lidded jar "Viluna" had great strength and sureness and was awarded the Crafts Council's Purchase Prize.

The jury wisely used the balance of the

Crafts Councils support money to the exhibition to add to Mannings Delicatessan Prize for the best fruit dish which was well deserved and awarded to Patty Mullaney. The Punch's Tea Prize was likewise subsidised for the best teapot, the award going to Eileen Singleton. Here the decision was, to the reviewer, less harmonious and it did not seem that the teapot ever really achieved a unity — the antler handle somehow fighting all the way with the rest of it.

The Guinness prize went to Hugh Lorngan and the Crafts Council Development Award to Eithne Twomey.

Pat Connor seems to be marking time — there was a period some years aao when he explored a new direction with his horses' heads, but it was a route which did not seem to be pursued. The Wrights are as sure as ever in their own metier, but there is no great development, and perhaps it should not be expected — they do what they do well and may be happy enough not to explore philosophies.

There is much which deserves to be bought and one hopes that the opportunity is used, for such a collection of good quality ceramics may not be seen together again for some time. Let us hope that the citizens of Cork celebrate the 800th anniversary ofthe city's charter with a momento of the occasion much more worth treasuring than much else which has been offered in 1985.

Congratulations all round, not least to the Crawford Municipal Gallery for using its space wisely, but to Cork Potters for maintaining such quality for a non-selected exhibition.

L P S . HAPPY The Irish Patchwork Society's comment on its exhibition's participation in the Great Crafts Fair II is worth reprinting: "On behalf of the Irish Patchwork Society, thank you for having us in the Great Crafts Fair II — it was a very worth while five days with enormous interest in our organisation, which can only increase our membership and add to the vitality of the I.P.S. Our sales were down a little on last year, but the commissions gained and the compliments given more than made up for this".

'Cosmic Tree No. 2', Marie Foley, 45 cms. Winner of the Society of Cork Potters' Prize. Presented to the Crawford Gallery Cork. Photo: P. Wolstenholme.

'Viluna', lidded Jar. Cormac Boydell. 34 cms. Winner of the Crafts Council of Ireland Purchase Prize. Photo: P. Wolstenholme.

'The Island Ferry', Barbara Keay.

Decorated earthenware, 22cms.

Photo: P. Wolstenholme.

W.C.C. IN CRETE Report from Jane and Robin Forrester, attending the Traditional Ceramics Work-shop atThrapsanon. World Craft Council Europe Workshops and Conference in Crete 15th-22nd September 1985.

The pottery is one kilometre out of the village, on the edge of a plain which is green with vines and olive trees. It consists of one large concrete building, with metal grilles for windows, a long, open, high shed beside it, which backs onto the kilns, t w o small houses side by side. Next to theseatthe rearof the main building is a big yard, full of jars. At the back of the yard, there is a long trench containing 14 wheels for making the big jars.

It was dark on Saturday evening when the bus dropped us, two Belgian girls, and all our luggage in the narrow village street, arriving to "enrol". No reception, no camping, no other place to stay, no one speaking English. It was the feast of the Holy Cross, an all night fiesta of feasting, music and dancing. One man spoke French, befriended us, and found us a floor to sleep on. He showed us where the pottery was, and said that they were expecting foreign visitors on Monday.

We spent four days there.

Work begins early, and continues till 6.00 p.m. It is a co-operative, organised from Athens with a local girl supervisor called Maria. About fifteen men are said to belong to the co-op, but only six came regularly while we were there: the maestro, 70, Lefteris Theodorakis, who makes the large jars or "Pitharoi" and his son-in-law who turnsthewheel; hisgrandson, Manoli, and two 50-year old men, all making smaller jars and utensils. And a stoker-kiln-loader. The wives take it in turns to provide the midday meal, which is cooked in a jar oven beside the kiln.

W e saw one firing. The jars are carried into the kiln, and balanced on top of each other, with no shelves — loading takes most of one day. Early next morning the fire box is lit — a large chamber below the floor of the kiln, opening at the back. It is started with olive twigs, then fed with Pirina (dried olive pressings). After seven hours flames come from the chimney: there is one central chimney, and four other small openings in the roof. At the end of the firing, flames and thick black smoke are pouring from all the openings. About ten hours, firing to cone 13A, butvarying from 800 at the

spy to as much as 1200° at the base. It cools overnight, is unbricked next morning. The jars are taken out and filled with water, or immersed if they are small enough, to soak out the line which is present in the clay in the form of marble chips. The clay is dug locally, roughly sieved and dough-mixed, wedged by hand.

The smaller ware is made on kickwheels, the potter kicking sideways on a wooden fly wheel, leaning his back against a wall.

The large jars are made on the row of wheels in the trench in the back yard.

The trench is about 4 2 " wide by 3 0 " deep. The turner sits in it and turns the spindle of the wheel by its two spokes, adjusting the rhythm to the needs of the thrower who is sitting on the ground above, at the level of the wheel head. Heworkson six or seven wheels at a time, doing a stage at each, then moving on, letting the sun and the wind dry the clay between stages. He would make fourteen in a day. Lefteris had been working with his son-in-law for the last fifteen years. The jars vary from three to six and a half feet in height, with simple ribbed, pressed and soraffito decoration.

Some are put onto lorries, tied with ropes, and driven to Germany. A price of £60.00 each was mentioned.

W e also attended a craft exhibition and a mayoral reception in Heraklion, and the conference at Kolimbari. All ten workshops experienced the same problems in starting, some did not start at all, many finished early. The message from the organisers was always the same "No problem, relax, enjoy Crete. Everything will be organised". In the end it was. The hospitality was fabulous and no one could be unhappy for long in Crete.

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CRAFTMANSHIP UNDERVALUED Speaking at the opening of the Great Crafts Fair II, the Minister of State at the Department of Industry, Trade, Commerce and Tourism, Mr. Eddie Collins, T.D., said, craftmanship in Ireland is under-valued compared with, say, the UK and the USA. In those countries unique one-off work sold through art galleries would fetch up to 20 times the price it would in Ireland.

That is why craftworkers have to sell some of their unique one-off works direct to the public from their studios or through craft fairs like this. It is unfortunately one result of the generally poor prices which unique craft work can earn in this country.

This would apply for instance to much of the best work on exhibition here at the Great Crafts Fair, Clearly, greater effort must be made to instill in the public, a fuller awareness of the importance and value of high quality products and good design.

This Fair was inaugurated last year to give the general public an opportunity to view and acquire the work of the best of Ireland's craftworkers. The craftworkers themselves will also appreciate the opportunity to sell their products direct to the public. This Fair and the January Trade Fair are significant national events, in the craftworker's calendar.

Marketing is a vital factor for success in Irish industry in general. Inadequate attention to marketing has inhibited the growth of home-based Irish firms.

I appreciate that in many small craft enterprises one individual is often responsible not only for production but for the financial and marketing ends of the business as well. Nevertheless, if craftworkers are serious about ensuring the success of their businesses they cannot afford to neglect their marketing strategy. As Minister of State with special responsibility for the craft industry, I am glad that the Crafts Council — in conjunction with the other State agencies — is devising proposals for a more co-ordinated approach to the marketing of craft products and I look forward to receiving their plans.

The Crafts Council is working to ensure the development and growth of the crafts industry both by helping craftworkers and by promoting an appreciation of craft products amongst the public, not least by organising Fairs such as this.

GUILD OF WEAVERS, SPINNERS AND DYERS The annual exhibition by the Guild of Weavers, Spinners and Dyers, which ended on 6th November, was slightly smaller and a bit more compact than the previous year but was of a uniformly good creative level without any great drama or startling breakthroughs. One was more attracted to those pieces which were non-utilitarian, as the rugs tend to become a bit unnoticeable.

Names like Jacqueline Corbiere, Gerda Teljeur, Ann O'Kelly, Mary O'Rourke produced their usual competent well designed and executed work. Allie Kay's "Homage to Rothko" was impeccable; Michele Hilaire's "Fields of Colza and Lucerne" was wonderfully rich and evocative.

The large "Druid Circle" by Mary Cuthbert was one of the outstanding pieces in the show matched by Terry Dunne's new departure in his "Frosty Morning" and "The Wedding Day" — mixed media handling including paper and fibres and, in this reviewer's opinion, probably the best pieces in the exhibition not only for their quality but fortheirexplorationof a newdirection, and while it is in an early stage, it will be interesting to see where it will lead.

The Minister of State, Mr. Eddie Collins, T.D., holding a turned wood bowl by Gerry Roche, in discussion with the Chairman of the Crafts Council, William D. Fin lay (right) and E. F. Sutton (left). Photo: Lensman.

NO RUSH 1985 has been a disastrous year for rush cutting and the high water levels on lakes and rivers have made proper cutting impossible at the right season.

Last year's tocks will have to do for those who have them.

Anyone offering rush cut this year should be dealt with with great caution. Rush has been cut, but wrongly cut in most cases, and will not be able to be saved properly and while it may look reasonably all right can, we are advised, cause endless problems later, breaking, rotting and generally being unusable.

Perhaps this year is an opportunity for those who work in rush to explore other materials.

Selling at the Craft Potters Society of Ireland Exhibition. Great Crafts Fair II. Photo: Sutton.

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

Telephone (094) 81156

FOR SALE Passap Due-matic 80 knitting machine with two colour changer and cards.

Little used ÂŁ400.

Contact Nessa Tarns, 66 Ballyroan Road, Templeogue, Dublin 16. Tel: (01)943239.

KILWORTH 4 Professor Justin Keating also opened the Kilworth 4 exhibition at the Crawford Municipal Gallery in Cork on the same evening as the opening of the Society of Cork Potters exhibition.

Speaking at the opening he said that when the Kilworth Craft Workshops had first been conceived and put into operation he had had some doubts about its eventual success, but the original concept had in his opinion been vindicated and the exhibition which has opened in Kilworth, travelling to Ballycasey and to Dublin before being mounted in the Crawford showed by its maturity that those graduates of the workshops well fulfilled the aims of the original dream of the 'onlie begetters'.

— it is good to see t w o very fine new style weavings by Terry Dunne which first appeared at the Bank of Ireland exhibition of the Irish Guild of Weavers, Spinners and Dyers some weeks ago and were among the outstanding works then and retain their importance on a third viewinq.

Martina O'Sullivan's ceramic fantasy is another welcome addition.

While the mounting in the Crawford was as adroit as at the other venues the exhibition as an exhibition was probably visually less successful by having to contend with a heavily red painted gallery. What a pity that a gallery room should so dominate such a fine exhibition instead of offering the works every chance to shine on their own.

The exhibition has attained some further works since its first mounting

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W e are advised by the organisers that the Crafts Balcony feature initiated at the 1985 Brighter Homes Exhibition will be repeated again in 1986. There have already been enquiries as to whether this is planned. Room for 20 stands will be available and they should have appeal in particular to craftsmen with products directly related to home furnishings and interiors.

Applications for space should be made to John Palmer (Exhibitions) Ltd., at 3 Woodbine Park, Stillorgan Road, Blackrock, Co. Dublin. The exhibition takes place from 16th-23rd March 1986, spanning St. Patrick's Day. *

At this instant somewhere overseas there may be an individual who seeks to import the very product you manufacture. What is his name? Where is he from? Is he a reliable trading partner? More importantly how do you contact him?

Obviously, travel overseas is one sure way of securing new con­ tracts. However, many Irish Exporters are now too busy keeping their operation ticking over on the home front to engage themselves in such frequent globe-trotting ventures to locate potential markets.

Fortunately, Bank of Ireland International Banking Division have z unique means of further assisting you with your export promo­ tion. The Trade Services section of this division is operated by highly skilled arid efficient professionals who are in a position to locate new markets for those contemplating entering the export field. They can also expand existing markets for those already actively involved in trading overseas.

Bank of Ireland International Banking Division has many agents in many countries. Taking their branch networks into account, this gives us vast outlets through which the Trade Services section can seek out untapped markets to promote an Irish product. It is through the medium of these correspondent banks that we endeavour to locate your new prospective trading partners.

This service is devised to boost Irish Exports and is provided at absolutely no cost to you. If interested, please complete and return the coupon below. We shall then be in a position to initiate a TRADE ENQUIRY on your behalf.

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When trading internationally it is of paramount importance to assess the creditworthiness of the foreign parties. When we locate a prospective trading partner for one of our clients, we always ensure that an accompanying favourable status report on the foreign |concern is provided.

Confidential status reports on companies or individuals at home and abroad are provided by us regardless of whether you have availed of our TRADE ENQUIRY service already mentioned. Any request for a status report of this nature must be directed through your bankers.

Trade Services also assist by providing advice, guidance and information on many regulations which influence international bus­ iness. For example, what are the exchange control regulations that effect the speed and ease of payments? What are the import regula­ tions, customs tariffs, correct shipping documentation etc. required?

An exporter knows that a superior product, excellent marketing skills and advanced technology are not the only factors which ensure him of a high success rate in a competitive world. Even iden­ tification of the right trading partner is not sufficient. A basic know­ ledge of the economic intricacies and business climate prevailing in each national market to which he intends exporting to is also a vital factor in assuring his overall success.

The Trade Services team take pride in being able to help expor­ ters identify possible new outlets for their products, checking out the creditworthiness of potential foreign clients and supplying gen­ eral, financial and economic information on the countries where the market is located.

The Minister of State admiring a painted silk Kimono by Mel Bradley at the Kilworth 4 exhibition. Showing the Kimono is Lynne Glascoe, Supervisor of the Kilworth Craft Workshops.

Photo: Lensman.

Peter Wolstenholme, the Cork ceramic artist, with his commemorative "Cork 800" bowl, commissioned by the Red Cross Society and presented to President Hillery on his visit to Cork on Sunday 10th November. The commission was obtained through "Crafts of 'Ireland", 65 Patrick Street, Cork. The President himself provided the Irish inscription for the bowl.

INTERNATIONAL CERAMICS COMPETITION As ceramics have been with us since the dawn of civilisation and continue to serve mankind today with a continuously unfolding historical and traditional base it is interesting to contemplate the future of ceramics in the century to come.

The 1st International Ceramics Contest '86 in Mino, Japan, is a response to those challenges of the future. This contest will combine the ceramics manufacturing design fields with the field of fine arts pottery.

The basic philosophy of the contest is bound up in the themes of the contest for ceramic desing: "Stirrings towards the Future" and for ceramic art: "From Tradition to Revolution".

Outstanding Potter represents the discovery of beauty in and the application of spirit to objects which were originally produced with no particular thought to these qualities.

Even in the simplest of bowls can we recognise something out of the ordinary, feel a colour, experience a profound tactile sensation; and shapes which are neither magnificent of themselves nor strongly impressive can give us a glimpse of the universe.

And now w e find ourselves in the closing stages of the twentieth century, with less than twenty years remaining until the advent of the next century. This is an age of mass production, of mass consumption, of new materials, new technologies — in what direction will the violent waves of our times sweep the spirit and the existence of ceramics?

Will creative powers be lost before the onslaught of technological achievement?

The 1st International Ceramics Contest '86 Mino, Japan, will be the site for a glimpse into a future that will be blessed with a creative power backed by a high level of technical sophistication.

WORK BEING SOLICITED "Ceramics Design This category will consist of ceramics design works that are based on the premise of planned production and repetition (to include products which have been manufactured by systems specializing in the small lot production of a variety of different goods). Works solicited are limited to tableware, inte'ior ceramics products, tile arts.

Plaster models are also accepted.

They must be accompanied by design drawings. All entries must be original designs, unpublished before this contest.

"Ceramic Arts All types of ceramics works will be accepted in this category, regardless of philosophy of creator or method used in production. All entries must be original works, unpublished before this contest.

Works are encouraged that will express the spirit of contemporary ceramics but which still have developed from the springboard of the folk arts traditions which have been so important in nurturing ceramics throughout the ages.

Judges "Ceramics Arts Yoshiaki INUI (Japan) The author of a large number of works on the history of Western art and contemporary ceramics.

Currently serving as a Professor at Kyoto University and as the Japanese representative to the International Ceramics Academy.

Takuo KATO (Japan) Known for his activity in reproducting the lustre materials of ancient Persian pottery and adding it to Mino Momoyama ware.

One of Japan's outstanding potters.

Rudolf SCHNYDER (Switzerland) Currently Director of Swiss National Museum.

Peter V O U L K O S (U.S.A.) Currently a Professor at the University of California at Berkeley.

Carlo ZAULI (Italy) Has been serving since 1980 as the president of his alma mater the Institute of Ceramic Art in Faenza.

Prizes Prizes are identical for contestants in both the Ceramics Design contest and the Ceramic Arts contest.

Grand Champion (one per contest): 2 million yen, plus a domestic or foreign study trip worth the equivalent of one million yen (not to be awarded in cash).

Bronze Medals (five per contest): 200,000 yen.

Special Judges' Awards (five per contest): 100,000 yen.

Qualifications For Contestants There are absolutely no qualifications for contestants. Both individual and group entries will be accepted.

Number of Works Solicited Individuals (and groups) in both the Ceramics Design contest and the Ceramic Arts contest will be permitted and submit up to three entries each.

Size of Entries There are no restrictions on size. The size of design drawings must be 728 by 1,030 m/m.

Applications Procedures For Contestants For those Currently Living outside Japan.

"Application Registration Persons who wish to become contestants in the 1 st International Ceramics Contest '86 Mioo, Japan, must first register their applications.

To register, first fill in the appropriate items on the enclosed Application Registration Form, and mail to us no later than 30 April (Wednesday) 1986.

(Application postmarked on 30 April will be accepted). Group registrations must include the name of the group that is registering, the name of a representative of that group, and a mailing address. No registration fee is required.

"Address for Completed Registration Forms: International Ceramics Festival '86 Mino, Japan Organizing Committee 2-15 Hinodemachi, Tajimi City, Gifu Prefecture, 507 J A P A N .

On receipt of the registration forms, the sponsors will assign application registration numbers, and notify registrants of their numbers. This acknowledgement will be accompanied with entry labels (to be used for identification of entries when submitted), entry submission cards, a brief personal history form and credit labels.

Gold Medals (one per contest): 1 million yen.

The firms authorized to handle transportation for the 1st International Ceramics Contest '86 Mino, Japan, are Nippon Express Co., Ltd. and firms acting in cooperation with Nippon Express Co., Ltd.

Silver Medals (two per contest): 200,000 yen.

Check with Crafts Council for further details.