CCI-newsletter-1987-62-March-April

MARCH/APRIL 1987

Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4

Telephone 680764 / 603070

The Crafts Council invites comment from its readers in response to articles printed in the Newsletter. Whilst we cannot guarantee that all letters received will be printed, they will be given full attention. would also like to hear your views on what you would like to read about in the Newsletter.

FOUR CERAMISTS Exhibition in the Fenderesky Gallery, Be/fast. Review by Sean McCrum.

Four Ceramists is important not just for the work itself. A private art gallery decided that four people working with ceramics as their chosen medium for self-expression should be shown.

This highlights two points. One is that clay of any type is a potentially powerful, creative medium. The other is that a commercial gallery, which has to make its income from selling the visual arts, has recognised that this is the case, and whilst this is not unique in Ireland, it is too rare.

The four people in this exhibition are Cormac Boydell, Marie Foley, Sonja Landweer and Deirdre McLoughlin. Their work spans the breadth of what ceramics can do.

This ranges from Landweer's and Boydell's pot and vase shapes to Foley's and McLoughlin's work, which is clearly statuary in the twentieth century modernist art idiom.

Day 1, Burren IV: Peter Wo/stenho/me and Romy Gray sit at the edge of Shessy More, "So We Are In This Wonderful Place, What Are We Going To Do Here?"

Peter Wolstenholme, Porcelain.

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BURREN WORKSHOP As the first works are being produced by Burren IV participants for their exhibition at the Bank of Ireland in July, the Crafts Council is already organising Burren V. Ballyvaughan is again the base, and it is hoped to run the workshop over ten days, with an open weekend at the end.

Applications to participate will be invited in the next Newsletter.

Please see "Calendar of Events" in this issue for dates, and mark your diary!

At this point, it is important to make it clear that Boydell and Landweer both treat what could be utilitarian shapes as the starting point for work which keys into the subjective traditions of the contemporary visual arts as much as Foley's or McLoughlin's.

Landweer's work developed from the 1950s and early 1960s in Europe, which based creative ceramics on individually devised shapes taken from traditional forms like pots and bowls. In Landweer's case, her material has been largely, but not totally, based on this approach. continued in next page

Continued from previous page The other three ceramists were born between 1946 and 1959.

Their work reflects a difference in generations between their and Landweer's equally valid attitudes.

Their material tends to be less utilitarian-based and more obviously sculptural.

Boydell's work is flat-sided, circular profile vases, hand-built as opposed to Landweer's finelypotted, wheel-made ware. His material exploits different aspects from Landweer of how clay can be used to construct a vessel, particularly the undulating, slightly jagged shapes of a torn, clay sheet.

He uses heavily trickled and pitted glazes to increase the freely formed emphasis of his work. However, his most effective material concentrates on decorating the uneven surface of clay with thin glazes applied by brush, in the same way as a painter uses paint on a canvas.

Foley and McLoughlin both work with high-fired ceramics, which they construct in very different ways. Foley tends towards attenuated forms which, like Boydell's, are obviously hand-built.

She sometimes also incorporates other media like wire. The surfaces of her porcelain are stained, not glazed. Her work is relatively small sized, incorporating considerable tension and balance.

Of the four people involved, McLoughlin's work benefitted most from the formal presentation which a gallery gives any material placed in it. Her statuary is quite large, about two and a half to three feet high. It uses curving, facetted and unbroken surfaces. These have a very dark, almost black glaze, mottled in dark brown. The anchoring point for most of her work is relatively small cut or slit, placed usually on the joint between two facets.

McLoughlin is currently examining a set of closely linked formal and emotional concerns as she moves from sculpture to sculpture. When several pieces are displayed together, they develop a cumulative effect as a group, much more so than Boydell's or Foley's does.

In the same way as McLoughlin's, the repeated but very different

ABOVE left: Ceramic sculpture by Deirdre McLoughlin; right: ceramic statuary by Marie Foley.

Fender esky Gallery exhibition.

Photographs Ulster Museum.

1988

DUBLIN

shapes which Landweer uses, themselves related by being wheel-thrown vessels, set up a similar, cumulative effect. Again, each piece stands on its own but reinforces the others.

The result is a group of four people using ceramics in different ways for creative expression which are linked by this type of crossreference. The basis for these references lies in the material, which is ceramic however it is constructed. Clay comes across as a powerful and flexible medium in an exhibition which brings to the fore ceramics as an effective means of self-expression.

Sean McCrum is a writer and exhibition organiser on the fine arts.

DUBLIN MILLENNIUM Celebration of one thousand years of life in Dublin will take place throughout 1988.

A Presentation pieces will be needed by the City Hall, and the Crafts Council of Ireland has been invited to advise the Dublin Millennium office in this. Pieces will be chosen in a number of different price brackets, and in all will number about five hundred.

Presentation pieces chosen will be well-designed, to be well-made, with the emphasis on art in any medium.

Further details will be contained in the next Newsletter but now is the time to start thinking about designs and proposals.

If you are interested, you are asked to send five slides of your current work to the Crafts Council, to arrive not later than 1 May 1987. (Please make sure that your slides are clearly marked with your name.)

Those then shortlisted will be notified by 11 May 1987 and asked to submit a number of new pieces by 1 September 1987.

An international jury will be appointed to make the final selection of work to travel to New York and Stuttgart.

To allow as much time as possible for those shortlisted to produce new work and to ensure that both exhibitions are professionally organised, strict adherance to all submission dates is essential.

The absolute last day for slide submission is 1 May 1987.

Landscape in bronze with steel elements by Tracy Reid of the University of Ulster, for the Burren IV exhibition.

ANNOUNCEMENT: Two Exhibitions of Irish Crafts The Crafts Council of Ireland has been invited to mount the following exhibitions in 1987: National Craft Gallery, New York Mr Norbert Nelson of the National Craft Gallery has suggested a presentation of Irish craft work at this gallery in November. This exhibition will run for a number of months and, as the National Craft Gallery is a wholesale showroom, follow-up orders would be expected. Exhibitors should be prepared to supply repeat orders.

Karlsruhe, West Germany The Baden-Wiirttemberg Landesgewerbeamt (State trade promotion office) in Karlsruhe is interested in showing an exhibition of Irish work in December 1987. The Landesgewerbeamt helps to promote and to improve design for art/craft workers for small and medium sized industries. Sales can be made at this gallery on a once-off basis.

Both galleries are interested in high-quality, well-designed art/craftwork in ceramic, textile, wood, metal, glass, enamel, leather and jewellery, as well as bookbinding at the Karlsruhe gallery.

In order to ensure a comprehensive representation of Irish crafts, it is important that as many craftworkers as possible should submit for both exhibitions.

Notice to craftworkers who are not registered with the Crafts Council of Ireland It is important to be registered with the Crafts Council. Otherwise, how can we let you know about exhibitions such as these? We can arrange venues, collect details and exhibitions. Unless we know where you are and what you are doing, we cannot contact you.

Please supply slides and apply for registration forms now.

GRENNAN MILL We hear that Grennan Mill is in the process of developing six studio spaces within the school complex.

These studios are designed as incubator units and would be ideal for the young craftperson in search of a good space in attractive and compatible surroundings. It is hoped to keep the rent as reasonable as possible.

If you are interested in participating in this project, George Vaughan, Grennan Mill Craft School is the person to contact. Telephone, 05624514/24557.

M A T I S S E WALL P A N E L S IN THE U L S T E R M U S E U M Elizabeth McCrum In early summer this year, the Victoria and Albert Museum in London will hold a major exhibition of the work of Zika Ascher, exploring his extraordinary contribution to the fabrics of international fashion in the post­ war period. One of the most exciting and surprising exhibits to be seen there w i l l be a pair of linen wall panels, printed by Ascher's firm to Henri Matisse's designs entitled 'Oceanie — la mer' (Oceania — the sea) and 'Ocdanie — le ciel' (Oceania — the sky). The panels will be lent by the Ulster Museum, to whose collection they belong, and the strong and vital Ulster connection in this instance w i t h the art of Matisse makes an interesting tale of international co­ operation.

About 1943, w h e n Matisse was in his seventies, he began to produce his 'gouache d£coup£es' or paper cut-outs. These were made by cutting shapes w i t h scissors from paper coloured by his assistants to his exact specifications in gouache, which were then applied to a ground to give a stencil-like effect.

Of this 'drawing w i t h scissors' as he called it, he wrote: "Cutting directly w i t h colour reminds me of the sculptor's carving into stone."

Until his death in 1954 these cut­ outs were Matisse's chief means of self-expression. The method admittedly suited the frailties of his age, but his lifetime's experience of and conclusions about colour and form were an equally necessary factor. As he observed it took 'infinite subtlety and a lot of experience' to distil his art into the pure colour forms of w h i c h , perhaps, the 'Blue Nude' series is the best known example. The flat colour designs lent themselves readily to reproduction in other media such as silk screen printing, as w i t h the panels under discussion, or stained glass, as w i t h his commission for the chapel of the Rosary in the Dominican convent at Vence in 1 948, or book publication as in his book 'Jazz'.

The latter was published in 1947 by the Parisian publisher Te>iade.

About twenty plates of paper cut­ outs were reproduced using a process called 'pochoir' involving stencils. The text was also by the artist, a collection of observations about life and art. It was originally to be called 'Le cirque (the circus)

but the final title emerged in recognition of a link between the tones and harmonies of Matisse's visual forms and those of jazz. In the book the artist's new technique achieved general recognition, and all the recurrent motifs w h i c h can be seen in the new medium again and again, such as seaweed and star shapes, made their appearance.

From about the same time that Matisse had been working on his 'gouache decoupees', Zika Ascher's firm had been experimenting in the reproduction of artists' work in textiles. It had had considerable technical and popular success w i t h designs for wall hangings by the British sculptor Henry Moore. On his first trip to France after the Second World War Zika Ascher determined to ask Matisse too for textile designs. When he visited the artist he showed him some of the firm's previous designs, and Matisse said that he would do something one day if and w h e n in the mood. The next time Ascher saw him he was given designs for squares, dress fabric and for the two panels 'Oceanie — la mer' and 'Oceanie — le ciel'. Referring to these panels, Matisse told Ascher to consider that he had an important work by him.

The artist wrote of 'Oceanie': "This panel, printed on linen — white for the motifs and beige for the background — forms, together w i t h a second panel, a wall tapestry composed during reveries w h i c h came fifteen years after a voyage to Oceania.

"From the first, the enchantments of the sky there, the sea, the fish, and the coral in the lagoons, plunged me into the inaction of total ecstacy. The local tones of things hadn't changed, but their effect in the light of the Pacific gave me the same feeling as I had w h e n I looked into a large golden chalice. " W i t h my eyes wide open I absorbed everything as a sponge absorbs liquid.

"It is only now that these wonders have returned to me, w i t h tenderness and clarity, and have permitted me, w i t h protracted pleasure, to execute these panels."

'Oceanie' was originally created by pinning white cut-out shapes onto the walls of Matisse's Paris

apartment in the Boulevard du Montparnasse. They could thus be adjusted indefinitely until correct.

He had in fact used this system of working out exact placing of shapes of flat colour by moving paper cut-outs about since 1931 w h e n working on 'la Danse', a mural commissioned for the Barnes Commission in Merion, Pennsylvania. For over ten years however the method was used simply as a preparatory stage to painting, solving the problem of modifying the lines and shapes of pure colour w h i c h were crucial to his work from about 1930.

Translating Moore's and Matisse's designs into the finished printed panels posed certain technical difficulties at that time. Ascher, w h o was a Czech, had a friend M and compatriot, Paul Sochur, w h o ™ ran the Belfast Silk and Rayon Company. He had working for him as his colour chemist a very brilliant Austrian emigree, Mrs G Gewing PhD. She had tutored in Vienna before the war, and had been living and working in Northern Ireland since 1939, first in a bleachworks, and then in Sochur's company. In the mid 1940s she was the only person w i t h the ability to use resins in fabric printing. Mrs Gewing had been 'lent' to Ascher for the difficult and time consuming task of printing the Moore panels, and had worked on them in London for two years, patenting all the colours used on them except for the white.

She was therefore the obvious ^ person to undertake the printing o ' the Matisse panels. His designs were in fact much less problematic, simply involving drawing on pigment colours. The stencil effect adapted easily to silk screen printing.

The panels were individually screen printed in Belfast, partly due to the lack in London of the very large tables available at Belfast Silk and Rayon. The linen was local, made by Lamonts of Doagh, Ballymena, and was vat dyed to a nearly natural colour, called 'beige'

by Matisse, but to most people's discernment a very pale khaki.

Matisse saw samples of printing etc, while the work was in progress, then, w h e n the work was complete, he went to London to sign 30 sets, the agreed edition.

These sold for £ 1 0 0 0 each, and were shown at the Lefevre Gallery, Bruton Street, London. They are

Entries now being accepted for the International Textile Competition '87 Kyoto Since the dawn of civilization, textiles have remained inseparable from man, playing a vital role in his life as clothing or environmental materials. In their long history, textiles have maintained a perfect harmony with human life and, apart from their obvious practicality, have become important as a means of expressing creativity and style.

The purpose of the International Textile Competition 87, Kyoto is to clarify the role and task of textiles in the new century.

Entries are earnestly invited for creative and distinctive works which show this contemporary use of textiles. These works should display personal, social, cultural or environmental aspects of life. Unconventional ideas are welcome.

Theme: The Sensitivity of Textiles—Proposals for the New Century Sponsor: The Executive Committee of the International Textile Fair '87, Kyoto; Kyoto Prefectural Government; Kyoto City Government; Kyoto Chamber of Commerce and Industry; Nishijin Textile Industrial Association; Kyoto Council of Design Societies.

Schedule: June 20, 1987: Close of entry registration.

July 10, 1987: Close of entries for screening (color slides, etc.).

Mid-July, 1987; Screening for the exhibition.

October 1, 1987: Close of entries for the exhibition.

Early October. 1987: Awards selection.

November 6, 1987: Awards ceremony.

November 6—12, 1987: International Textile Fair, '87.

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Total Award Money: Y 10.000,000 (planned) Judges: A majority of the judges will be from abroad.

Entry Registration and Inquiries: Entries for the textile competition are subject to regis­ tration. For further information, please contact the following offices: JAPAN (Headquarters) Executive Committee of Inter­ national Textile Fair '87, Kyoto, c/o Nishijin-ori Kaikan, Imadegawa Horikawa, Kamigyoku, Kyoto 602, Japan.

Phone (075) 451-0033, Fax (075)414-1521 EUROPE Europe Office of Kyoto Prefecture, c/o JETRO-Hamburg 36, Colonnaden 72 2000. Hamburg 36. Federal Republic of Germany. Phone 40-35600822, Fax 40-346837 AMERICA New York Office. Kyoto 575 Madison Avenue, AT 56 Street. New York, N. Y. 10022, U.S.A. Phone 2 12-605-0332, Fax 212-308-9834

INTERNATIONAL TEXTILE FAIR'87 K Y O T O November 6-12, 1987 Kyoto Japan

The textile competition and the World Textile Conference, '87 Kyoto are the main programs in a variety of events planned for the International Textile Fair '87 Kyoto.

Other events include performances, an industrial textile exhibition and textile workshops.

from INTERNATIONAL TRADE EXHIB

in F R A N C E

fc6MARÂŤ87 THE EUROPEAN DESIGNERS COMPETITION

THE 75TH INTERNATIONAL ARTS AND GIFTS SHOW FROM 4 TO 9 SEPTEMBER 87 In organizing the International Ateliers d'Art Show, the intentions of the Craftsmen and Ceramists Trade Association are as follows : - Buyers w i l l be presented with the l a t e s t high quality creations at the Metiers d*Art Show.

- Through the help of the specialized trade, foreign designers w i l l have the opportunity of making themselves known to the French public.

In so doing, the organizers have decided to hold one or two standi at the International Ateliers d'Art Show, free of charge, a t the disposal of 2 candidates. Entry rules are as follows : - Candidates must present or send to SAAF (Trade Association) 5 s l i d e s showing their products as well as a detailed C.V. These s l i d e s w i l l be examined by the Show's Bureau and Commission who w i l l decide on the allocation of the free stands.

Advertising w i l l be provided for the winners, both a t the Show and through the specialized press.

FINAL DATE FOR REGISTERING AND SENDING SLIDES : 1st JUNE 1987

SAAF : 62 rue d'Hauteville - 75010 Paris - France

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British crattwÂŁk is selling like hot cakes in Germany. Carolina Pearce-Hifgins reports Fifty British craftspeople showed their work in the national preChristmas exhibition and fair at the prestigious Hamburg Museum fur Kunst und Gewerbe last November. The collection then toured to Karlsruhe in February.

The freedom of British craft, the blend of experiment and sound craftsmanship, the high artistic content and vital use of colour delighted German audiences - a$

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the comment made by one of the thousand or so guests at the Hamburg private view clearly shows. ("Super/ it seems, has joined "design" a s part of the international language.)

Charlotte, Countess of Finkenstein, and Director of Galerie L in Hamburg, selected and presented the British work, in cooperation with the Crafts

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Latham, w t o also helped fund outward transport. She was very pleased with the response and resulting sales. The Karlsruhe exhibition, too, has been well received with over 5,000 visitors.

British Council support enabled seven craftspeople to attend the Hamburg opening.

Ceramics formed the largest group which included elegant thrown bowls by Emmanuel Cooper and Janice Tchalenko, important pieces by Ewen Henderson and Colin Pearson and witty objects by Philippa Cronm and Jill Crowley. The blown glass was very strong, showing the mastery of form and colour of some of our best makers. The nonprecious jewellery excited considerable comment and sold well. The small, excellent, group of turned wooden pieces, colourful bowls by Howard Raybould, and half-a-dozen striking, large-scale textiles completed the show.

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Matisse panels. Above, Ocean/a The Sky. Below, Oceania - The Sea. Photographs courtesy Ulster Museum.

up, away from light and pollution they are now almost certainly the best surviving examples of 'Oceanie — la mer' and 'Oceanie — le ciel'.

now dispersed world wide, one set in the Musee National d'Art Moderne — George Pompidou Centre, Paris; others in Germany and America. Matisse's family are thought to have a pair. The Ulster Museum's set are an extra print, produced as a precautionary measure, rather like an artist's proof. They are identical to the edition sets, except, of course, for lacking Matisse's signature. Since until recently they were kept rolled

Elizabeth McCrum is the Keeper of Costume and Textiles in the Art Department of the Ulster Museum.

NEW D I R E C T I O N S AT BALLYCASEY The New Directions Seminar organised at Ballycasey Clare Craftworkers was led by June Tiley, w i t h workshops also given by Inga Reed.

In her opening lecture, June Tiley spoke of the problems created for craftsmen by the continuing perfection of mass produced goods of ever-increasing aesthetic appeal.

Ms Tiley said that unless the public could be educated to value the hand-made for itself, the future of the craftsman probably lay in design for mass production. Showing a series of slides of objects made by designers and artists, by hand and machine, which showed striking, recurring similarities, spanning wide distances in time and method of making, Ms Tiley also asked, "Is the idea more important than the technique?"

Also speaking during the seminar were Ursula Brick, Deirdre Campion, Lynne Glasscoe, and Peter Wolstenholme.

Speaking at the New Directions Seminar, Ursula Brick of the Limerick School of Art and Design said that a new language and new definitions were necessary if crafts were to continue to move forward.

She described the craftperson in this society as someone to be indulged, patronised, but never to be taken seriously. But crafts were coming "out of the closet."

The number of people working in craft disciplines has heightened public awareness, Ms Brick said, but the price willingly paid for the work of craftsmen is still much smaller than is desirable, so calling the craftsman's 'respectability' into question.

Changes in attitude could be brought about more quickly w i t h an encouraging climate created in w h i c h craftpersons might more easily work, by recognising the layers and tiers w i t h i n the profession, by striving for excellence at all costs, and by commanding respect, not by demanding success.

Ms Brick suggested that craftsmen should be working towards a day w h e n "the correct body to look after and nourish (their) interests is the Arts Council," and not the Crafts Council, and towards a time

w h e n the concerns of each were no longer different, the only course of action amalgamation of both.

People working in craft areas during the last twenty years had pushed the standards to new heights, where some were now in the area defined as art, " w i t h all the on-going, personal selfexamination that implies!"

Ms Brick saw perceived divisions between 'Fine A r t ' and 'Craft' as having been created by history and tradition, and based on mediums chosen as means of self-expression by the creative artist. Traditions in cultures other than the European made no distinctions, she said, and the responsibility of the creative person was to mould mediums and techniques to his need, not to be led by them. The debate between 'Art' and 'Craft' was, Ms Brick said, no longer valid.

THE W O O D T U R N E R This exhibition from the Irish Folklife Collection of the National Museum of Ireland consists of a broad selection of wooden objects ranging from butter prints and piggins to a spinning wheel. A photographic display will feature the work of two old style woodturners, John Loftus and Joseph Hughes, both of w h o m were practising their craft in the 1930s. The exhibition will feature a model of John Loftus' pole lathe and a selection of tools from his workshop.

This exhibition will be on display at the following venues during 1987:

March-April The Cork Public Museum

May-June The Irish Agricultural Museum Johnstown Castle Co. Wexford

August - 20 September The Nenagh District Heritage Centre

23 September - 21 November The Limerick Museum

CRACOW

1987

The Central Union of Folk Art Craft Co-Operatives, Warsaw and the 'Stanislaw Wyspianski' Folk Art Co足 operative, Cracow invite participation at the 7th International Folklore Dolls Biennale to be held in Cracow in September 1987. It is hoped that the event w i l l be a real folk:art festival, providing participating countries w i t h an opportunity for presenting a wealth of folk art and craft, folk ornamentation and artistic inventiveness.

Forty-two different nations were represented at the 6th Biennale, among them Afghanistan, Argentina, Canada, Cyprus, Finland, France, Great Britain, Hungary, Jamaica, Netherlands, Romania, Scotland, Swaziland, Sweden, Thailand and USA. Preliminary notice of intention to participate must be given by 31 May 1987 and a completed participation form must be returned by 31 July 1987. Exhibits for jurying must be delivered before 15 August 1987.

Dolls may be classed in either of t w o groups: (i) Dolls whose costume is a faithful replica of folk costume of the region, or, (ii) Dolls whose costume is an artistic adaptation of the regional costume.

All details of entry, competition jury, etc. are available from the Crafts Council of Ireland.

Workshop/living accommodation on 600 acre private estate, at reasonable rates.

Extensive forestation and other raw materials available (including willows, dogwoods, dairy cattle, blacksmith's forge and organic fruit and vegetables), ideal crafts would be wood based, wrought iron, wickerwork, pottery and cheese and jam making, for example. A local retail and display outlet will be provided, plus professional marketing and promotion for home and abroad. It is hoped to attract craftspeople, from both the Republic and Northern Ireland to this centre, which has a beautiful atmosphere, in an area that includes complementary amenities to a craft centre.

For further information, please contact Sean Love or John Madden at: Hilton Park, Scots House, Clones, Co. Monaghan.

Telephone (047) 56007

DIGITAL P Y R O M E T E R

FOR S A L E

Battery operated, LCD Display.

One Year Guarantee — £98.00 Plus VAT.

Glimakra Loom — 1.5m Wide, Counter Marche, 8 Shaft, 8 Peddle, Double Back Beam, Bench as new w i t h all accessories.

Further information from: A.R. Electronics Limited Timoleague, Co. Cork.

Also Haldane Spinning Wheel (Beech Wood) in beautiful condition.

WEAVING EQUIPMENT Looms and accessories, books, dyes, yarns for weaving and knitting, spinning wheels Available from A n n O'Kelly 4 Eglington Park, Donnybrook, Dublin 4. Telephone 693565

Contact: Angela Fewer Telephone (021) 8 2 1 6 8 9

Accounting, Taxation and Administrative Services for Craftworkers, Artists and Small Business,

FOR S A L E Lover spinning wheel and accessories. Natural dye stuffs and wool fleeces.

Supplied by Mary O'Rourke Glenasmole Dublin 24

Reasonable Rates Contact Mr Pat O'Byrne 19 Airfield Road Rathgar Dublin 6 Telephone (01) 9 6 6 8 1 8

HOUSE SWAP i|n American husband and wife jam involved in artwork and woodworking would like to live in Ireland for a time. If you would enjoy a visit to the US and are willing to trade houses w i t h them for a month or two, or more, contact:

BLACKROCK

MARKET

Frank and Bonnie Maher, Mountain Falls Route 109, Winchester, Virginia 2 2 6 0 1 , USA Telephone: (703) 877-2167 i9A HMOWaH

FOR S A L E Genuine Leach Kick Wheel £200.00 or nearest offer Telephone (01) 9 4 5 0 6 9

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CRAFTS STALLS WELCOME PHCMB NICK' ( 0 Q 7 5 6 5 W *IZX) fer weekend <* Purpose-luiCt stalls sujipfod * 5<rfe overnight storage«Indoor/Outdoor * 50 spacious stalls avMk * Cxaiimt carparkty

MICHAEL J A M E S WORKSHOP Theme Colour: Concepts and Investigations Dates

DATE / EVENT

29 June — 2 July 1987

April

Venue Our Ladys Bower, Killashee, Naas, Co. Kildare.

Fee £125.00.

Michael James, noted American author, teacher and quilt artist, will tutor this four-day Workshop w h i c h is designed for motivated quiltmakers and design artists seeking a foundation-level introduction to the art of colour.

The Workshop is structured on a series of design exercises, most of which will be worked out in coloured paper a n d / o r gouache.

The approach to colour in this Workshop will be more intuitive than analytical. Participants will be expected to work intensively in class and to complete after-hour assignments. Work will be discussed in group critiques on a daily basis. Slides of innovative work in quilts and other pattern art will be shown and discussed.

CALENDAR OF 1987 EVENTS

Landscape Exhibition Rag-Rug Workshop

April/May

For further information and to make reservations, please contact Grania McElligott, The Hill House, Tipper Road, Naas, Co. Kildare.

Telephone: (045) 7 6 1 2 1 .

Mid-West Craftworkers Association Handweavers Guild of Cork Spiddal Craft Centre

Guesthouse Owners Promotion

May

Craft Potters Society

Annual Members Exhibition

Handweavers Guild of Cork

Natural Dyeing Workshop

2-27 May

Mid-West Craftworkers Association

Black & White Magic

25 May — 7 June

Irish Patchwork Society

IPS Exhibition

30 May — 24 June June Jubilee

4-18 June Exhibition

Mid-West Craftworkers Association Jewellers & Metalworkers Guild

13 June Fabric Collage Workshop

July Felting Workshop

Handweavers Guild of Cork Handweavers Guild of Cork Irish Patchwork Society

IPS Exhibition

6-31 July Burren IV Exhibition

Crafts Council of Ireland

22-30 August Kilkenny Arts Week

Work in fabric will not be included in this Workshop.

ORGANISED BY

4-29 April

Kilkenny Arts Week Committee

29-30 August CPSI Exhibition

Craft Potters Society of Ireland

September (First t w o weeks) Annual Exhibition

Handweavers Guild of Cork

September IPS Exhibition

Irish Patchwork Society

14-19 September Ceramic Workshop

Society of Cork Potters

October A N N U A L T O Y , G I F T and C R A F T FAIR, C O R K Cork's 2nd Annual Toy, Gift and Craft Fair w i l l take place at City Hall, Cork from 4-8 December.

This year's Exhibition will occupy the t w o available halls in both the New Exhibition Centre and the Main City Hall.

Booking has commenced and further details are available from Irish & International Special Events Courthouse Chambers 2 7 / 2 9 Washington Street Cork.

Telephone (021) 273006

Annual Fair

Spiddal Craft Centre

Annual 2-Day Seminar (Woodturning)

Irish Woodturners Guild

23 October — 2 November Burren V Workshop

Crafts Council of Ireland

November 3rd Ceramic Weekend Workshop

Crawford Municipal School of Art

IPS Exhibition

Irish Patchwork Society

Annual Exhibition

Society of Cork Potters

Wexford Craftworkers Exhibition

Wexford Craftworkers

2-Week Exhibition (woodturning)

Irish Woodturners Guild

December Christmas Fair Christmas Fair

North Dublin Craftworkers Association Spiddal Craft Centre, Galway

For further information, please contact Crafts Council of Ireland or organising body.