PORTFOLIO Critical Selection 2019-2020

PORTFOLIO Critical Selection 2019—2020 Basketry Caoladóireacht Calligraphy Peannaireacht Stone Cloch Ceramics Ceirmeacht Metals Miotail Wood Adhmad Furniture Troscán Fashion Faisean Printmaking Déanamh Priontaí Jewellery Seodra Textiles Teicstílí Surface Design Dearadh Dromchla Glass Gloine Weaving Fíodóireacht Paper Páipéar Leatherwork Saothar Leathair Enamelling Cruanadh

Design & Crafts Council of Ireland

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Cover image: Annemarie Reinhold, Carrot Spoons Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm Photographer, Roland Paschhoff

PORTFOLIO

Critical Selection 2019—2020

Contents Message President Michael D. Higgins Preface Breege O’Donoghue Introduction Ciara Garvey PORTFOLIO Wider Programme Critical Selection 2019—2020 The Surface Matters Liz Cooper Maker Profiles Acknowledgements

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Message President Michael D. Higgins Uachtarán na hÉireann / President of Ireland → In Ireland our heritage and culture is deeply embedded in crafted objects, symbolically rich and exquisitely rendered. Craft is a continually evolving art form, connecting us to our roots while reflecting the contemporary society in which we engage. → This inspiring portfolio once again showcases all that is best in Irish craft, enabling us to value the skills and talent of our best artisans and designers, and to appreciate the uniqueness of Ireland’s gifted crafters.

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Preface Breege O’Donoghue

Preface Breege O’Donoghue Chair, Design & Crafts Council of Ireland → The leading Irish makers featured in this special edition, PORTFOLIO Critical Selection 2019—2020, have been selected by an independent expert panel of curators and gallerists for achieving excellence in craftsmanship, design quality and technical skill by comparative international standards. → This volume has been published by the Design & Crafts Council of Ireland to grow awareness and understanding of top Irish makers and their current work. It serves as a valuable reference, particularly for collectors, galleries, commissioning bodies, museums and media. → Since 2005, DCCoI’s PORTFOLIO programme has been instrumental in building the international reputations and commercial potential of Ireland’s best designer-makers of contemporary craft. Many makers previously selected for PORTFOLIO have progressed to winning international awards, being represented by renowned commercial galleries or having their work purchased by prestigious collections and museums worldwide. → The craft objects featured in PORTFOLIO Critical Selection 2019—2020 will also tour as an exhibition in Ireland and overseas for the next two years. Through this publication and its accompanying exhibition programme, we hope that you enjoy discovering more about the featured makers, their inspiration and their practice.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

Introduction Ciara Garvey Development Manager, Collector & Tourism Programmes Design & Crafts Council of Ireland → Welcome to PORTFOLIO Critical Selection 2019— 2020. The judging panel for this edition were: Liz Cooper, Development Manager, Design-Nation, UK; Johan Valcke, Founder of Design Flanders and Owner of Valcke Art Gallery, Ghent, Belgium and Kim Mawhinney, Head of Art, National Museums of Northern Ireland. → The benchmark by which all applications were assessed was the achievement of excellence in contemporary craftsmanship and design by comparative international standards.

Decisions were made over the course of three days of robust deliberations involving discussions on artistic statements, viewing digital images of current bodies of work and scrutinising the physical pieces submitted. → The panel noted that a significant number of the selected makers have featured regularly in previous editions. They were impressed by the fact that these makers continue to produce such extraordinarily strong work. There was a lot of excitement in encountering the highly skilled and imaginative creations by makers who are new to the Critical Selection; Annemarie Reinhold, Emma Bourke, Ciarán McGill, David McCaul and Alan Meredith. The judges also selected seven new makers for the PORTFOLIO wider programme, an online showcase of Ireland’s top makers creating the very best of Irish design and craft, either one-off pieces or limited editions. → Along with the Critical Selection, the wider programme is intended for audiences interested in engaging with contemporary craft and design for a variety of reasons such as commissioning, purchasing and selecting for exhibitions. Some of the events for which the PORTFOLIO programme was used in 2018 include: → Lasting Impressions — Curator Gregory Parsons selected makers for this exhibition which showed at the National Design & Craft Gallery in Kilkenny and Ruthin Craft Centre in Wales. Featuring the work of John McKeag, Helen O’Connell, Cillian Ó Súilleabháin, Nicola Henley and Scott Benefield alongside UK-based contemporaries, this exhibition celebrated the crafting of objects by looking at how craftspeople make and the processes they use to produce long-lasting objects.

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Introduction Ciara Garvey

→ Ealaín, The National Gallery of Ireland — PORTFOLIO was used to select makers for a pop-up exhibition in the National Gallery of Ireland as part of Ealaín, an event themed around the suffragette movement, women’s rights to vote and the importance of the work of female artists. Alongside basketmaking demonstrations by renowned maker Alison Fitzgerald, work by Nuala O’Donovan, Úna Burke, Alison Lowry, Cecilia Moore, Julie Connellan, Jennifer Hickey and Sasha Sykes was displayed. → Homo Faber, Venice — Italian curator Jean Blanchaert, along with members of the Michelangelo Foundation for Creativity and Craftsmanship in Switzerland selected PORTFOLIO makers Róisín de Buitléar, Helen O’Connell, Jennifer Hickey, Joe Hogan, Alison Lowry, Cara Murphy, Sasha Sykes and Nuala O’Donovan for the Best of Europe pavilion, one of 18 exhibitions in this inaugural biennale celebrating mastery of material and craftsmanship.

→ In 2018, PORTFOLIO received significant support from the RDS as part of the restructured RDS Craft Awards with the announcement of a bursary worth €10,000 for a member of the overall PORTFOLIO programme; a potential pool of almost 140 makers. Thirty-one applications were submitted and assessed by the three judges for PORTFOLIO along with Dr Audrey Whitty, Keeper of the Art and Industrial Division of the National Museum of Ireland, Collins Barracks, as the representative for the RDS. The panel looked for proposals which were well thought-out and which demonstrated how the award could help develop a maker’s practice and career, as well as being of benefit to Irish craft and design on an overall level. → Glass artist Edmond Byrne was the outright winner with his proposal to embark on a collaborative project with metalsmith Adi Toch. The aim is to explore the meeting point of metal and glass, stretching and challenging specialist knowledge and skills in order to make a new original body of work. This crosspollination of processes, skills and materials, with its potential to create a new material language, was hugely exciting to the judges and we are all looking forward to witnessing how this develops in the coming months. → Surface Matters, the exhibition featuring the Critical Selection makers, and curated by Liz Cooper, will be very prolific over the next two years. As it tours from Dublin to Barcelona and Kilkenny, with plenty of outreach and events planned, we hope that as many people as possible get to experience and enjoy these exceptional objects.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

PORTFOLIO Wider Programme Current Membership → The PORTFOLIO wider programme actively works to grow the reputations and potential of makers across all major disciplines of contemporary design and craft. Selected by an international expert panel, the programme currently features over 140 of Ireland’s most renowned designers and craft makers.

Alan Ardiff Jewellery Juliet Ball Ceramics Yvonne Beale Jewellery Muriel Beckett Textiles Scott Benefield Glass Roger Bennett Wood Magda Bethani Ceramics Paul Bokslag Paper Emma Bourke Glass Lorna Boyle Jewellery Max Brosi Wood Denis Brown Calligraphy Cathy Burke Ceramics Úna Burke Leatherwork Anne Butler Ceramics Edmond Byrne Glass Mike Byrne Ceramics Stuart Cairns Metals Kevin Callaghan Ceramics Sean Campbell Glass Helen Cody Fashion Alison Conneely Fashion Julie Connellan Jewellery Ryan Connolly Furniture Eimear Conyard Jewellery and Metals Seliena Coyle Jewellery Frances Crowe Textiles Hugh Cummins Wood Danuna Glass Glass Debbie Dawson Glass Róisín de Buitléar Glass Jack Doherty Ceramics Karen Donnellan Glass Chloë Dowds Ceramics 9

Simon Doyle Furniture Dunleavy Bespoke Furniture Terry Dunne Weaving Isobel Egan Ceramics Chaïm Factor Wood Deirdre Feeney Glass Figure2Ground Surface Design Alison Fitzgerald Basketry Sara Flynn Ceramics Adam Frew Ceramics Peter Fulop Ceramics Martin Gallagher Furniture Alva Gallagher Glass John Galvin Furniture Róisín Gartland Fashion Séamus Gill Jewellery Mark Hanvey Wood Tricia Harris Furniture Karl Harron Glass Stevan Hartung Furniture Ian Hawthorne Wood Pierce Healy Jewellery Rudolf Heltzel Jewellery Nicola Henley Textiles Jennifer Hickey Ceramics Joe Hogan Basketry John Hogan Metals Shane Holland Furniture Horizon Furniture Furniture Bob Johnston Basketry Brendan Joseph Textiles Alison Kay Ceramics Catherine Keenan Glass Ceadogán Textiles Knut Klimmek Furniture

PORTFOLIO Wider Programme

Umit Kutluk Fashion Peadar Lamb Glass Sonja Landweer Jewellery Bernie Leahy Textiles John Lee Furniture Locker13 Furniture Alison Lowry Glass Andrew Ludick Ceramics Eoin M Lyons Jewellery Caroline Madden Glass Emma Manley Fashion David McCaul Jewellery Kathleen McCormick Basketry Michael McCrory Metals Deirdre McCrory Enamelling and Printmaking Ciarán McGill Wood John McKeag Ceramics Rachel McKnight Jewellery Deirdre McLoughlin Ceramics Alan Meredith Wood Sabrina Meyns Jewellery Claire Molloy Ceramics Cecilia Moore Metals Michael Moore Ceramics Karen Morgan Ceramics Kathleen Moroney Ceramics Cara Murphy Metals Liz Nilsson Textiles Cillian Ó Súilleabháin Furniture Stephen O’Briain Furniture Susan O’Byrne Ceramics Eily O’Connell Jewellery Helen O’Connell Stone Nuala O’Donovan Ceramics Cóilín Ó Dubhghaill Metals Laura O’Hagan Ceramics Angela O’Kelly Jewellery

Kate O’Kelly Ceramics Marcus O’Mahony Ceramics Nigel O’Reilly Jewellery Mandy Parslow Ceramics Debbie Paul Jewellery Eric Phillips Furniture Nicole Portlock Ceramics Owen Quinlan Ceramics Vaida Rasciute Fashion Michael Ray Glass Inga Reed Jewellery Annemarie Reinhold Metals Louise Rice Glass Rocker Lane Workshop Furniture Deirdre Rogers Glass Natasha Rollinson Jewellery Freda Rupp Ceramics Leo Scarff Furniture Killian Schurmann Glass Enda Scott Furniture Jane Seymour Ceramics Rory Shearer Ceramics Jennifer Slattery Textiles Andrea Spencer Glass Kathleen Standen Ceramics Paula Stokes Glass Superfolk Furniture Rachel Swan Jewellery Sasha Sykes Furniture Garvan Traynor Jewellery Jim Turner Ceramics Eva Walsh Glass Joseph Walsh Furniture Grainne Watts Ceramics Wedge Furniture Derek Wilson Ceramics Peter Young Glass Zelouf & Bell Furniture

For further information on the PORTFOLIO wider programme, please visit www.dccoi.ie/portfolio 10

PORTFOLIO

Critical Selection 2019—2020

DAVID McCAUL JEWELLERY →

Glyph Earrings, 18ct yellow gold, iron, brilliant cut white diamonds 5.5 × 1.7 × 1.7cm each. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

CARA MURPHY METALS →

Grass Bowls, silver and vitreous enamel 5 × 5 × 2cm each. Photographer, David Pauley

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

ZELOUF & BELL FURNITURE →

Gazelle Desk, figured mahogany, ripple sycamore, hand-carved walnut, leather, brass, hand-rubbed satin lacquer finish 150 × 50 × 78cm. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

EMMA BOURKE GLASS →

Pancreas with Immortelle and Spleen Bracelet with Honeysuckle Borosilicate glass and silver, 6.5 × 3.2 × 3.2cm and 6 × 5 × 3.5cm Photographer, Sylvain Deleu

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

ALAN MEREDITH WOOD →

Ebonised Triptych, Irish oak, oil, approx. 35 × 16cm diameter (each). Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

STEVAN HARTUNG FURNITURE → Media Cabinet, pear wood and Makassar ebony 165 × 105 × 55cm. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

JACK DOHERTY CERAMICS →

Stone on a Stone, porcelain, copper, 34cm high Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

NUALA O’DONOVAN CERAMICS → Banksia 2 & 3, Dialogue, porcelain, 90 × 55 × 55cm overall Photographer, Janice O’Connell at f22 Photography

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

EIMEAR CONYARD METALS →

Rook, 24ct Keum-boo, oxodised silver, porcelain 6.7cm tall × 5-8cm diameter. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

CECILIA MOORE METALS →

A Dressed Up Life, gilding metal, bronze, found material 6 pieces, 11 × 11 × 11cm. Photographer, Damien Maddock

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

ÚNA BURKE LEATHER →

Lace Halter, vegetable-tanned calfskin, solid brass fittings coated with gold, brass screws, 40 × 30 × 20cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

JOHN LEE FURNITURE →

Lillias, hand-carved and sandblasted oak, 205 × 120 × 76cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

SARA FLYNN CERAMICS →

Flection Vessel, porcelain, manganese layered glaze 31.5cm high. Photographer, Glenn Norwood

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

JOSEPH WALSH FURNITURE → Rinn Enignum Chairs (Pair), olive ash and suede, 75 × 110 × 225cm and 72 × 95 × 123cm Photographer, Andrew Bradley

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

MIKE BYRNE CERAMICS →

On Best Behaviour and Promise of Order, fired clay, rubber, nylon rope, 46 × 36 × 14cm and 44 × 30 × 15cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

CIARÁN McGILL FURNITURE →

Dolls, silver-dyed figured eucalyptus, 25 × 25 × 20cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

JOE HOGAN BASKETRY →

Cluster of Reclining Pods, willow rods, wood and stones 80 × 68 × 100cm, 53 × 63 × 80cm and 43 × 49 × 57cm Photographer, Michael McLaughlin

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

CÓILÍN Ó DUBHGHAILL METALS → Tulipiere 11, nickel plated copper, 36.5 × 20 × 28cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

ANNEMARIE REINHOLD METALS → Carrot Spoons, Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

JENNIFER HICKEY CERAMICS →

For September, porcelain, tulle and translucent thread 19.5cm. Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

ROGER BENNETT WOOD →

Inlaid hornbeam bowl, hornbeam wood, Argentium tarnish-resistant silver, wood dyes, Danish oil, 15 × 6cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

STEPHEN O’BRIAIN FURNITURE → Walnut Desk, French walnut, 170 × 80 × 75cm Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

GRAINNE WATTS CERAMICS →

Blaze series (two from a group of five), porcelain, double-walled thrown vessels, decorated with velvet underglazes, 12 × 10cm each Photographer, Roland Paschhoff

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

SASHA SYKES FURNITURE →

Gyre (Ophelia), thirty-five varieties of foraged red, brown and green Irish seaweed, resin, acrylic, steel rods, 185 × 220/280 × 3.3cm Photographer, Phillip Gates courtesy of the Peter Petrou Gallery

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

The Surface Matters Liz Cooper Development Manager, Design-Nation → There are many great pleasures in being an exhibition curator: getting behind the scenes to find out how things are thought of and made; in-depth conversations with artists in their workspaces about ideas, and witnessing their willingness to demonstrate how a thing is achieved; intense dialogue with venues to understand programme ambitions, needs, constrictions and audiences; the rewarding challenge of how to group objects, and create language that will tell their stories to best advantage; and the delight of unpacking boxes and crates to reveal objects of gorgeous colouration and shape. → Perhaps one of the best aspects of my job is being allowed to touch. This touch may be mediated by latex or cotton gloves but rarely does it fail to thrill — to hold the satisfying weight of a vessel and explore its subtle patinas, to run one’s fingers along the surface of a well-constructed cabinet, to feel the detailed texture of inset stones against the smooth metal of a necklace, or the soft drape of handwoven cloth. → In craft and design, the objects made, even if purely decorative, often have domestic and quotidian associations, and are created with familiar and tactile materials that invite holding and may even suggest caresses. In his examination of family history through the remarkable collection of Japanese netsuke that passed through generations, Edmund de Waal observes, “Stories and objects share something, a patina. Perhaps patina is a process of rubbing back so that the essential is revealed … But it also seems additive, in the way that a piece of oak furniture gains over years and years of polishing.” Grasping the frame of a painting or the corners of a mounted photo will never give the same pleasure as holding fine porcelain, carved wood or beaten metal, making applied arts curators possibly a touch more satisfied in their work than their brethren and sistren in fine arts. → Touch is of course by no means the only pleasing aspect of a well-crafted object; it will give much visual delight, may make pleasing or intriguing sounds when handled, and if made of an organic material may also have a scent that evokes other places or times, as soothing or disturbing memories.

However, when we talk about the surface quality of an object,

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touch is the sense that comes to mind first. → When selecting for the Design & Crafts Council of Ireland’s PORTFOLIO programme, my fellow judges and I were often struck by the way the surfaces of the works spoke to us; as judges we were privileged to be able to handle most of the works submitted. While the selection was a visual process first and foremost, we did not negotiate our conclusions until we had proceeded into the viewing room and closely examined the submissions. We would take turns to lift objects from the tables, turning and examining every facet, discussing the details, and then passing each carefully to the next person. We found active delight in sharing our admiration, for the patina and striations on certain vessels; the highly polished finishes of silver or cabinetry; gleams and hues of assorted metals, gems and ceramic glazes; and imaginative forms described by so many pieces. So much so, that I have to declare that the surface matters, a mantra for those who value excellence in design and making. → Surface in craft and design is not simply a lick of paint or a gloss of varnish. Instead it speaks to us of the skill and knowledge of the maker, in their understanding and handling of the materials that make up the completed forms, be they raw matter like metal, wood, yarn or clay, or those mediated by manufacture, including molten glass, alloys, glazes and varnishes.

The surface is also the material of making itself and the way it has been handled, not just an outer coat or covering. Many of those in the Critical Selection 2019—2020 have reached their current high standard of practice through years of refinement: Jack Doherty, a ceramicist for forty-seven years, speaks of his delight at “steadily eliminating unnecessary materials and processes to a point where I use just one clay, one colouring mineral and a single firing.” By contrast, Sasha Sykes’ resin-encapsulated pieces need twelve stages of sanding and polishing that can take weeks. → This deep understanding of the material and its surface can take many years to gain and slow craftsmanship is a recurring motif. Roger Bennett’s small turned vessels have sometimes hundreds of tiny holes in which he insets and polishes fine silver wire; Emma Bourke spends years researching details of her chosen subject, ethnobotany, before she even begins to design her intricately lampworked glass objects; Jennifer Hickey

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describes how the slow nature and repeat actions of her making “are essential components” of her finished porcelain pieces; Joe Hogan grows his preferred material willow for his distinctive basket forms and then after harvest soaks it for at least a week before he can steam it and then finally begin to weave. → Consideration of the finish is an essential part of the design and making process. Makers take pride in showcasing the materials they use in the best possible way. Mike Byrne enhances his slab-built clay vessels with many layers of engobe (similar to slip), and then sands back repeatedly to achieve depth of colour, so the surface is in fact many surfaces expertly layered up. By contrast, furniture maker Stevan Hartung often avoids adding any finish to the wood at all, or maybe just a little oil, as his skills in using polishing tools and well-structured joints will create the desired results. John Lee typically uses oak for his furniture, appreciating the texture and imagining the surfaces as having “driftwood-like qualities … hewn over time by erosion”. Lee incorporates these notions of erosion into the finished pieces by subtly enhancing the distinctive grain with light sandblasting.

Grainne Watts carefully sands and water-etches her ceramic vessels over and over, then selects underglazes for her Vortex series as she loves the deceivingly soft effect. She says, “When I combine that velvet background with contrasting pattern, the end result pulsates”. → The deep understanding of how materials perform is intrinsic to these artists’ practices and is why they are the very best in Ireland today. Ceramicist Nuala O’Donovan typifies this; training in 3D design before working abroad in interior design for some years, she turned to making over a decade ago and now says simply, “The material that I use (porcelain) is currently the best for the work that I want to make”. Long training is often essential to realise excellence in the form, as jeweller David McCaul demonstrates, spending eleven years working in six different countries to master his techniques, including “the toughest time but where I learnt the most” in a traditional one-year apprenticeship with German master goldsmith, Gerald Heinrich. → As well as understanding the materials themselves, a solid comprehension of shape, form and spatial relationships underpins good maker practice and enables the making of

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beautiful and intriguing objects. Joe Hogan has made a deep career-long study of his chosen basket forms and published three books on the subject. He says, “the great advantage of repetition is the honing of skills”. There is an interesting variety of design training and practice in this portfolio: wood turner Alan Meredith studied architecture, as did Sasha Sykes, while Susan Zelouf of Zelouf & Bell qualified in theatre design. Both Sasha and Susan now work in furniture, as does Stevan Hartung who studied industrial and product design. Design training was also the entry point for silversmith and jeweller Annemarie Reinhold and, as remarked above, Nuala O’Donovan. → A more subtle form of education comes through family influences especially, it seems, in smithing: Cecilia Moore comes from a family of makers and “grew up creating things in all sorts of materials”, and Cara Murphy’s parents are also designermakers. After twenty-five years of making, Murphy, who trained in the UK, says, “My bench is less than a foot from my Dad’s”.

Grainne Watts also mentioned a potter-mother and making in the garden studio as a child, and John Lee acknowledges his father as “a constant source of knowledge in every aspect of my work”. → The best surfaces also reflect an understanding of two-dimensional aesthetics and balanced design. This approach is seen in the number of artists in this selection who have also worked in 2D media: metalsmith Cóilín Ó Dubhghaill began his art school training in painting, as did ceramicist Jack Doherty, but both preferred the challenge of other materials and threedimensional forms. Perhaps more unusually, Mike Byrne left ceramics in the 1990s to work in fine art printmaking for a decade, completing an MA in that discipline in 2001. Byrne’s restless seeking for new knowledge and skills to develop and refine his work typifies this select group of highly disciplined and enquiring makers and designers. → The quest by good artists to learn and expand their practices is lifelong and is evidenced by the impressive list of many influential teachers, artists, makers and design heroes that this group of designer-makers cite; some long gone but always treasured, and others very much at the forefront of contemporary practice and teaching. Unsurprisingly, in a compact country some of this select group have been influenced by their peers and it is

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particularly pleasing to note how many of this company are Irish born. Names mentioned with love and admiration include Richard Deacon, Róisín de Buitléar, Liam Flynn, Sara Flynn, Eileen Gray, Lillias Mitchell, Clive Nunn, Nuala O’Donovan, Angela O’Kelly, Lucie Rie, Simone ten Hompel and Joseph Walsh. This is a rich collection of influences for any artist anywhere. Nuala O’Donovan perfectly reflects the spirit of good practice in her tribute: “The most important to me are ‘influencers’ … with a lifelong, almost evangelical enthusiasm for their work … They don’t see boundaries between creative disciplines, considering others who pursue excellence as their peers, with the potential to share knowledge and skills.” → In considering how the surface of a beautiful work of design and craftsmanship reflects its construction and interior, perhaps we must reflect on how we are affected. By beholding a superb piece of craft, appreciating its form, scent, the sounds it makes when handled and the very feel of its exterior, how do we feel ourselves? Writer Robert Macfarlane observes, “Touch is a reciprocal action, a gesture of exchange with the world. To make an impression is also to receive one.” While the holder of a completed piece of fired porcelain or burnished wood may not be making a physical indentation on its surface in the way that its maker did, the act of holding and beholding the work is still an exchange. Our admiration and joy in the work is a reflection back to the maker, validation of their toil and skill, an acknowledgement of how the beauty of the object derives from the way that raw materials have been transformed. Does the surface matter? Oh yes.

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The Surface Matters Liz Cooper

→ Surface n. 1. The outside of a material body, area of this, (any of) the limits that terminate a solid, outward aspect of material or immaterial thing, what is apprehended of something on casual view or consideration.

The surface matters: Sparkle of tiny spots of silver inset into dark stained sycamore Intricate clear glass forms, delicately coloured and encased in a smooth vessel Glow of metal studs against burnished deep leather, multiple straps overlapping Carefully built curve and corner of tall jug-like vessels, smooth coloured surfaces Satiny sleek precious silver, delicately etched Incised, organic, smooth but patinated deep bell of soda-fired clay Rounded and indented elegant monochrome vessels Precisely constructed simple geometries of wood Paper-thin and organic porcelain structures Natural curves of entwined shining willow Quiet shades and subtle patterns of woodgrain Glossy patterned boxes, detailed with deceptively seamless marquetry Glitter of stones, smooth bands of matt metal Arch of deep oak vessel, lightly sandblasted and carefully formed Bell-like, dully lustred and delicately hued metal vessels Iridescent gleams of citrus-coloured enamels on highly polished silver Subtle forms of mixed metals, hammered and lightly textured Silky polished wood in lustrous forms Pale porcelain in complex constructions, feather-like finishes Subtly textured and polished silver, vegetal shapes Shiny resin encasing bright blooms, caught forever in another form Paraboilic sweeps and crescent-like timber structures Vivid matt spots on a deeply curved bowl Gleam and glare of cabinet doors intricately inlaid with metal LC 02.2019

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Maker Profiles Alan Meredith Annemarie Reinhold Cara Murphy Cecilia Moore Ciarán McGill Cóilín Ó Dubhghaill David McCaul Eimear Conyard Emma Bourke Grainne Watts Jack Doherty Jennifer Hickey Joe Hogan John Lee Joseph Walsh Mike Byrne Nuala O’Donovan Roger Bennett Sara Flynn Sasha Sykes Stephen O’Briain Stevan Hartung Úna Burke Zelouf & Bell

Alan Meredith Wood

ALAN MEREDITH WOOD

Alan Meredith Alan Meredith Studio The Oak, Mountmellick, Co. Laois alanmeredith.ie E. studio@alanmeredith.ie T. +353 87 137 1085 Collections and Commissions — The Red Jetty, dlr Lexicon, Dún Laoghaire, Co. Dublin — Evolution of Land Plants Pergola, University College Dublin — The Daniel Collection, UK — Cill Rialaig Arts Centre, Kerry — Newpark Comprehensive School, Dublin — Kilkenny College, Kilkenny — Numerous private collections nationally and internationally

Alan Meredith is a self-taught woodturner. He aims to express the depth Recent Awards of wood using tool marks and textures.

2018 Winner, RDS Emerging Craft Practitioner Bursary → It is hoped that the resulting work RIAI, Public Space Award for DLR Red Jetty will have a sense of material presence, 2017 Futuremaker of the Year Award, Design & Crafts wholesomeness, depth and perhaps Council of Ireland RDS National Crafts purity. The use of steam to bend wood Competition: Emerging Maker (Woodturning) Award; Irish has been developed in the studio over Woodturners Guild Award Winner of Tresor Discovery the past two years especially in the Award at Tresor Contemporary Craft, Basel, Switzerland making of tables, shelves and vessels.

Image Interiors Emerging Design Talent Award This ancient steaming method has 2016 RDS National Crafts Competition: Emerging Maker allowed new and elaborate forms to (Woodturning) Award Irish Woodturners’ Guild be generated while still working within National Seminar: Overall Winner and First the constraints of solid wood. The use Prize in Artistic Category of primary objects: the table; the chair; the vessel; the bench give constraint to the work and help guide the processes of making. → The primary motivation is a desire to make and a never ending fascination with seeing a piece emerge from the material into something meaningful. Essentially the work is about the expression of values and the striving to refine and achieve those values on an ongoing basis. Once a concept is developing there is endless motivation to expand, refine and resolve individual pieces in order that they may be stepping stones to venture into the next unknown. → Alan graduated with a Masters in Architecture from University College Dublin in 2015. He currently works out of his studio in Co. Laois.

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2013

Irish American Cultural Institute — Muriel Gahan Scholarship

Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 Sorti du Bois / Out of the Wood, Deschambault Village, Quebec, Canada Wood Work, Blue Egg Gallery, Wexford 2015 Artist in Craft, Cill —2018 Rialaig Arts Centre, Ballinskelligs, Co. Kerry 2012 Electric Picnic Music and —2018 Arts Festival, Stradbally, Co. Laois 2017 BRAVURA, Blue Egg Gallery, Wexford Tresor Contemporary Craft, Basel, Switzerland Sculpture In Context, National Botanic Gardens, Dublin (also 2016 and 2014) RDS National Crafts Competition Exhibition, RDS, Dublin RHA 187th Annual Exhibition, RHA, Dublin House, RDS, Dublin 2015 Body & Soul Music and —2017 Arts Festival, Ballinlough Castle, Co Westmeath 2016 Design Awards Exhibition, Institute of Designers in Ireland, Fumbally Exchange, Dublin

→

Dearcán Diptych oak, approx. 30 × 15cm each Photographer, Roland Paschhoff

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2015 and 2016 2014

2010 and 2012

RDS National Crafts Competition Exhibition; RDS, Dublin; National Museum of Ireland — Country Life, Turlough Park, Co. Mayo Glastonbury, Festival of Contemporary Performing Arts, Somerset, UK New Irish Woodturning, Gallery No. 6, Sligo Young, SO Fine Art Editions, Dublin Exploring Synergies, Konstfack Telefonplan Tunnelbana, Stockholm, Sweden Weathering, Tent, London UK; UCCA, Beijing, China RDS National Crafts Competition Exhibition; RDS, Dublin; Mid-Antrim Museum, Co. Antrim; Strule Arts Centre, Co. Tyrone Improvisations On the Theme of an Irish Wall, VISUAL Centre for Contemporary Art, Carlow The Drawing Room, No. 12 Henrietta Street, Dublin RDS National Crafts Competition Exhibition, RDS, Dublin

Gallery Representation — SO Fine Art Editions, Dublin

Annemarie Reinhold Metals

ANNEMARIE REINHOLD METALS

Annemarie Reinhold annemariereinhold.com E. annireinholddesign@gmail.com T. +353 86 262 0450 Recent Awards 2017 RDS National Crafts Competition: Emerging Maker, Silversmithing and Metalwork 2017 Jacobs the Jewellers’ Young Designer Competition, UK: Silver Category 2016 Contemporary British Silversmiths: Graduate Membership Award 2016 Future Maker Award, Design & Crafts Council of Ireland 2015 Nominated for the NCAD Staff Prize fund 2014 Winner of the Newbridge Silverware Jewellery Competition

Annemarie Reinhold creates sculptural and wearable metal objects. Her forms are inspired by nature, in particular trees, leaves, plants and their life Recent/Current Exhibitions cycles. → Her process initially involves GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin construction using traditional Castle; Artesania Catalunya CCAM, Barcelona, Spain and silversmithing techniques. Starting from National Design & Craft Gallery, Kilkenny a flat sheet of metal and creating 3D Monumentality / Fragility, National Design & Craft forms, she aims to make the metal look Gallery, Kilkenny COLLECT, with Bishopsland soft, light and delicate. → Using metal, Educational Trust, London, UK which has durable qualities, allows me 2018 Monumentality / Fragility, Mons Anciens Abbatoir, Mons, to capture the constant flux in nature, Belgium 2017 RDS National Crafts and to treasure these moments. This Competition Exhibition, RDS, Dublin aspect of slowing down is echoed in the process of making. I absolutely love making and being engaged in processes.

It takes time but is absolutely worth it. Possibly, in a very fast-paced world in constant change, I wish to hold on to and capture the process of making. → Annemarie completed a two-year course in Art, Craft and Design at Grennan Mill Craft School, Thomastown, Co. Kilkenny in 2012.

She received a Bachelor of Metal & Jewellery Design from the National College of Art and Design, Dublin in 2016 and subsequently completed a postgraduate residential course for Silversmithing, Jewellery and Professional Skills at Bishopsland Educational Trust in Reading, UK in 2017.

She is currently undertaking the Jewellery and Goldsmithing Skills & Design Course at the Design & Craft Crafts Council of Ireland in Kilkenny.

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Design & Crafts Council of Ireland

2016

2015 2013

2012

↑

Carrot Spoons (detail) Britannia silver, sterling silver 13.2 × 2.4cm Photographer, Roland Paschhoff

71

Bishopsland Educational Trust Retrospective, Reading, UK Craft in Focus, RHS Wisley, UK Inspired, Festival of Silver & Furniture, London, UK Jubilee, Gallery for Jewellery, Pforzheim,Germany Shine 2016, The Goldsmiths’ Centre, London, UK Christmas at Bishopsland, Bishopsland Educational Trust, South Oxfordshire, UK Discover Hidden Gems, NCAD Graduate Showcase, NCAD, Dublin Under a Rock, 3rd Year Metal Students, NCAD, Dublin NCAD Core Exhibition, Mixed Media Student Exhibition, NCAD, Dublin Grennan Mill Craft School Graduate Show, Grennan Mill Craft School, Thomastown, Co. Kilkenny

Cara Murphy Metals

CARA MURPHY METALS

Cara Murphy caramurphy.com E. cara@caramurphy.com T. +44 78 1195 8807

— — — — — — — — — —

Collections and Commissions Aberdeen Art Gallery, Scotland Arts Council of Northern Ireland Arts Council of Ireland Department of Foreign Affairs and Trade, Ireland National Museum of Ireland Queens University Collection, Belfast St Columb’s Cathedral, Derry St. Anne’s Cathedral, Belfast Shipley Art Gallery, UK The Silver Trust Collection at 10 Downing Street, UK Ulster Museum, Belfast Numerous private collections nationally and internationally

Cara Murphy utilises traditional silversmithing techniques to create innovative — — and sculptural tableware and objects.

In 2016, she won the Rosy James Recent Awards 2018 Arts Council of Memorial Award, a bursary administered Northern Ireland Individual Arts Award by the Arts Council of Northern Ireland 2016 Rosy James Memorial Award 2013 Arts Council of which enabled her to learn the process Northern Ireland Individual Arts Award of vitreous enamelling from her mother, 2012 RDS National Crafts Competition: Award of Deirdre McCrory, a renowned enameller Excellence; California Gold Medal; and printmaker. → Cara’s current 1st Prize Gold, Silver & Alternative Materials, work has embraced her new learnings, 2011 Arts Council of Northern Ireland Individual resulting in the creation of numerous Arts Award 2008 Major Individual Artist’s series of bowls, each bursting with Award, Arts Council of Northern Ireland colours and textures evoking those found in the Irish landscape. The bowls are created using the technique of basse taille enamelling and deep drawing. The organic patterns created on the surface of the silver are highlighted by the refraction of light through the coloured enamel. → Cara trained at The Glasgow School of Art, Scotland and the Royal College of Art, London. She is a Freeman of the Worshipful Company of Goldsmiths and works mainly to commission.

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Recent/Current Exhibitions SOLO EXHIBITIONS 1997 Metalanguage: Cara Murphy, Barbican, London, UK 1996 New Silverware, Roger Billcliffe Gallery, Glasgow, Scotland

↑

Sense of place (detail) 100 small bowls, silver and vitreous enamel, 3cm each Photographer, David Pauley

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GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny COLLECT, with Contemporary Applied Arts, London, UK 2018 Masterpiece, with Adrian and 2017 Sassoon, London, UK Best of Europe, Homo Faber, Venice, Italy The Miniaturists, The Scottish Gallery, Edinburgh, Scotland 2017 Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Global Irish Design Challenge, National Design & Craft Gallery, Kilkenny New Makers, Contemporary Applied Arts, London, UK Jubilee, Gallery for Jewellery, Pforzheim, Germany Colour Theory, Contemporary Applied Arts, London, UK 2016 Silver Speaks, V&A Museum, London, UK Global Irish Design Challenge, Dublin Castle, Dublin 2015 Irish Connection, The Scottish Gallery, Edinburgh, Scotland PORTFOLIO @ Solomon: Metal and Stone, Solomon Fine Art, Dublin Side by Side, National Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France 2014 Murphy Family, The Scottish Gallery, Edinburgh, Scotland PORTFOLIO, RHA, Dublin Feast of Silver, Fortnum and Mason, London, UK A Spoonful of Silver, Belton House, Lincolnshire, UK Hammered, Museet pa Koldinghus, Denmark Hopeaa ja emalia, Finnish Craft Museum, Finland Hopeaa ja emalia, Höyrygalleria, Finland

Design & Crafts Council of Ireland

2013

2012

2011

2010

2009

2008

Contemporary Silver, Christies, London, UK Culture Craft, London Street Gallery, Derry Rocks, Goldsmiths Centre, London, UK Future Beauty?, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin Royal Ulster Academy Annual Exhibition, Ulster Museum, Belfast Fit for Purpose, V&A Museum, London, UK RDS National Crafts Competition, Dublin My Place, Bluecoat Display Centre, Liverpool, UK 26 Treasures, Ulster Museum, Belfast Arts Council Collection, Parliament Buildings, Stormont, Belfast Thirty, Flowerfield Arts Centre, Antrim PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin MATERIALpoetry, The American Irish Historical Society, New York, USA Contemporary British Silversmiths, V&A Museum, London, UK Objects of Light, Danish Museum of Art & Design, Copenhagen, Denmark PORTFOLIO, National Craft Gallery, Kilkenny Designers and Makers, FE McWilliams Gallery, Banbridge, UK Side x Side : Edge > Edge, Häme Castle, Finland Object, National Craft Gallery, Kilkenny COLLECT, Saatchi Gallery, London, UK A Pinch of Salt, Goldsmiths Hall, London, UK Silver Sounds, Queens University, Belfast Connect: Eat and Drink, Hillsborough Courthouse, Belfast You’ll Never Walk Alone, Bluecoat Display Centre, Liverpool, UK; National Craft Gallery, Kilkenny

Gallery Representation — Adrian Sassoon, London, UK — Contemporary Applied Arts, London, UK

Cecilia Moore Metals

CECILIA MOORE METALS

Cecilia Moore ceciliamoore.ie E. ceciliamoore.ie@gmail.com Collections and Commissions — AXA Art Collection — Irish Management Institute — National Irish Visual Arts Library (NIVAL) — Office of Public Works, Ireland — Numerous private collections nationally and internationally Recent Awards 2018 Joint winner of Golden Fleece Award 2016 RDS National Crafts Competition – Award for Established Maker in Silversmithing/Metalwork Thomas Dammann Junior Memorial Trust Award 2014 Top Ten Designers, New Designers Show, London, UK

Cecilia Moore’s background is in design, silversmithing and sculpting. She creates colourful and playful metal forms through an ancient and almost obsolete process called raising. → My practice Recent/Current Exhibitions uses a slow, meditative and ancient GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin process of forming hollow vessels from Castle; Artesania Catalunya CCAM, Barcelona, Spain and metal. It is so physically demanding that National Design & Craft Gallery, Kilkenny each project becomes a deliberate act Valcke Art Gallery, Ghent, Belgium in making. In theory the form could be Slip Flux Flock: Intuitive Forms, Olivier Cornet produced using other less demanding Gallery, Dublin 2018 Royal Ulster Academy Annual means, but it is this physical exertion Exhibition, Ulster Museum, Belfast and ritual between myself, the metal and RHA 188th Annual Exhibition, RHA, Dublin the hammer that is central to my work. → Raising starts with a flat disc of metal that is hammered and rotated over a metal former called a stake. This contracts and pushes the metal up to form a hollow shape. As the metal is hammered all over (a round), it hardens and needs to be softened by heating to a dull red with a torch, then cooled before hammering again. Each round pushes the metal only a few millimetres so this process has to be repeated numerous times before the desired shape is reached. The shape then needs to be planished using a flat polished hammer to smooth out the raising hammer marks. This in turn leaves planishing marks so the process is repeated for many rounds, with lighter hammer blows each time. → Cecilia received a Diploma in Silversmithing from Birmingham Polytechnic in 1980 and holds a First Class Honours B Des Metal and an MFA Design (Metal) from NCAD. She is based in Dublin.

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PORTFOLIO Critical Selection 2019—2020

2017

2016

→

A Dressed Up Life (detail) gilding metal, bronze, found material 11 × 11 × 11cm each Photographer, Damien Maddock

75

EALAÍN, National Gallery of Ireland, Dublin Deutschen Goldschmiedehaus, Hanau, Germany Art at Christmas, Mason, Hayes & Curran, Dublin Winter Show, Rua Red, Dublin Geschmiedet/Forged, Galerie Handwerk, Munich, Germany Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Verve, Blue Egg Gallery, Wexford RHA 187th Annual Exhibition, RHA, Dublin RDS National Crafts Competition Exhibition, RDS, Dublin Meister der Moderne, Schmuck, Munich, Germany The Cabinet of Wonders, Linenhall Arts Centre, Castlebar, Co. Mayo Behämmert, Handwerksform, Hanover, Germany Sculpture in Context, National Botanic Gardens, Dublin (also 2012, 2013 + 2014)

Design & Crafts Council of Ireland

2015

2014

2013

RDS National Crafts Competition, Dublin: Country Life Museum, Mayo RHA 186th Annual Exhibition, RHA, Dublin So Fine Art Editions, Dublin MFA Fine Art Exhibition, NCAD Gallery, Dublin Oak 2015, Killenure Castle, Tipperary Personal Choice, Gormleys Fine Art Gallery, Dublin Elke Thonnes & Cecilia Moore, Axis: Ballymun, Dublin Design Show, NCAD Gallery, Dublin VUE, National Contemporary Art Fair, RHA, Dublin Great Northern Craft Graduate Showcase, Manchester, UK New Designers, Business Design Centre, London, UK See the future, Degree Show, NCAD, Dublin Éigse, Visual, Carlow Artists’ Books, Wexford Arts Centre, Wexford

Ciarán McGill Furniture

CIARÁN McGILL FURNITURE

Ciarán McGill Meenadoan, Fintown, Co. Donegal theveneerist.com E. theveneerist@gmail.com T. +353 86 086 0675 Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 House 2018, RDS, Dublin 2017 House 2017, RDS, Dublin

Ciarán McGill is a furniture designermaker who set up his business, The Veneerist, in 2015. He graduated with a distinction in Furniture Design and Manufacture from GMIT Letterfrack in 2012 and subsequently completed a Masters in Furniture Design at London Metropolitan University in 2013. → Ciarán is particularly interested in marquetry, a technique he first encountered at Letterfrack, which involves the intricate cutting and assembling of wood veneer to create decorative panels for furniture. → It is so versatile and has endless possibilities, I like the fact that it can make any piece unique and can be adapted to suit any interior…. The aim with each piece is to use the traditional techniques but create a modern aesthetic. → Once the design has been determined, the drawing is engineered into a file that can be read by laser technology such as AutoCAD. The veneer is selected and then the individual pieces are laser cut and assembled by hand. The final stages of the process involve pressing, sanding, flattening and smoothing until the desired finish is achieved. → As well as creating his own pieces, he regularly works with designers and furniture makers creating cabinet doors, wall panels, table tops and corporate gifts. → Ciarán’s workshop is located on his family’s farm at the foot of the Bluestack Mountains in Co. Donegal.

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PORTFOLIO Critical Selection 2019—2020

→

Block walnut, rippled sycamore, burr walnut, cherry 48 × 39 × 39cm Photographer, Ciáran McGill

77

Design & Crafts Council of Ireland

Cóilín Ó Dubhghaill Metals

CÓILÍN Ó DUBHGHAILL METALS

Cóilín Ó Dubhghaill Studio 1, Yorkshire Artspace, 21 Brown Street, Sheffield S12BS, UK coilin.com E. info@coilin.com

— — — — — — — — — —

Collections and Commissions Birmingham Assay Office Collection Department of Foreign Affairs and Trade, Ireland Galeria Sztuki w Legnicy, Poland Glasgow Cathedral, Scotland Irish State Art Collection Marzee Collection, Netherlands National Museum of Ireland Office of Public Works, Ireland The Goldsmiths’ Company Collection, London, UK Toride City Collection, Japan Museums Sheffield, UK Galway City Museum Numerous private collections nationally and internationally

Cóilín Ó Dubhghaill’s research interests focus on the intersection between — — traditional craft processes and new — — technologies, exploring the appropriation of industrial technologies for craft Recent Awards 2015 Bavarian State Prize, production and the development of new Germany 2009 Arts Council England Grants ways of using traditional craft processes for the Arts, UK 2008 National Metalwork Design and materials in the production of studio Award (shortlisted), Millennium Galleries, work. → In the Tulipiere series, the Sheffield, UK 2007 Arts and Humanities Research thin skin of the sheet metal is forged, —2010 Council Fellowship, UK 2007 Sasakawa Foundation grant, stretched, and expanded to form a shape Japan 2006 Special Merit Award, from multiple pieces using welding and Golden Fleece, Ireland hammer-forming techniques. In these pieces he uses the forms of tulipiere vases as a starting point for an investigation of form and a reflection on the relationship between object and value. Tulipiere are an intriguing example of specialised product design that originated in the 17th century.

Their forms, along with the backdrop of the Dutch Tulip Mania period, interest Cóilín as monuments to excess from an era that parallels more recent fragile economic bubbles. → Cóilín trained at Grennan Mill Craft School, Kilkenny and Edinburgh College of Art, Scotland, graduating in 1996. He worked as a designer for industry in India, the Philippines and the UK. In 2005 he received a doctorate from the metalwork department at the National University of Art and Music, Tokyo Geidai, Japan. Ó Dubhghaill was appointed Senior Research Fellow in the Art and Design Research Centre at Sheffield Hallam University in 2007. He is based in Sheffield, UK.

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PORTFOLIO Critical Selection 2019—2020

Recent/Current Exhibitions SOLO EXHIBITIONS 2016 Cóilín Ó Dubhghaill, Galerie Marzee, Nijmegen, Netherlands 2011 Cóilín Ó Dubhghaill, Galerie Marzee, Nijmegen, Netherlands 2010 Focus, Contemporary Applied Arts, London, UK 2008 Cóilín Ó Dubhghaill, The Scottish Gallery, Edinburgh, Scotland 2006 Cóilín Ó Dubhghaill, Galerie Marzee, Nijmegen, Netherlands

↑

Tulipiere 10 nickel-plated copper 24 × 26.5 × 27cm Photographer, Roland Paschhoff

79

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny Monumentality / Fragility, National Design & Craft Gallery, Kilkenny 2018 Monumentality / Fragility, Mons Anciens Abbatoir, Mons, Belgium Melting Point, Makers Guild Wales, Cardiff, Wales 2017 Forged, Munich, Germany Tresor Contemporary Craft, Basel, Switzerland Objets, Mes Amis, Artmontecarlo, Monaco Collect, London, UK TASTE at Artgenève, Geneva, Switzerland Mná 2016, Galway City Museum, Galway 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 In Residence 2, Oliver Sears Gallery, Six Fitzroy Square, London, UK Mná, Galway City Museum, Galway 2015 Meister der Moderne, IHM, Munich, Germany The Silversmiths Art, National Museum of Scotland, Edinburgh PORTFOLIO @ Solomon: Metal & Stone, Solomon Fine Art, Dublin In Residence, Oliver Sears Gallery, Six Fitzroy Square, London, UK Side by Side, Centre Culturel Irlandais, Paris, France; National Craft Gallery, Kilkenny Finders and Keepers, dlr

Design & Crafts Council of Ireland

2014

2013

2012 —2013

2012

2011 —2012 2011

2010

2009

2008

Lexicon Municipal Gallery, Dún Laoghaire, Dublin Modern Masters, The Scottish Gallery, Edinburgh Aesthetics of Manufacture II, Butcher Works, Sheffield Vase, Vessel, Void, Oliver Sears Gallery, Dublin COLLECT, Saatchi Gallery, London, UK (also 2013, 2012, 2011, 2010 and 2006).

Five into Four, Oliver Sears Gallery, Dublin Aesthetics of Manufacture, Butcher Works, Sheffield, UK Frame@Schmuck, Internationale Handwerks Messe, Munich, Germany Future Beauty, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin ICON, Brown Thomas, Dublin Out of the Marvellous, National Craft Gallery, Kilkenny; Solstice Arts Centre, Meath; Mermaid Arts Centre, Wicklow domesticMATTERS, Contemporary Applied Arts, London, UK KunstRAI International Art Fair, Amsterdam, The Netherlands dubh / dialogues In Black, The American Irish Historical Society, New York, USA Beneath the Skin, Galerie Marzee, The Netherlands; SIA Gallery, Sheffield, UK Silverstruck, Ruthin Craft Centre and National Museum of Wales dubh /dialogues In Black, Oliver Sears Gallery, Dublin Legnica Copper Ore seminar, Galeria Sztuki w Legnicy, Poland PORTFOLIO, National Craft Gallery, Kilkenny KeyPiece, SIA Gallery, Sheffield, UK Object, Rotterdam, The Netherlands 9 Create, The Scottish Gallery, Edinburgh, Scotland Treasures of Today, National Museum of Ireland

Gallery Representation — Galerie Marzee, The Netherlands — Contemporary Applied Arts, London, UK

David McCaul Jewellery

DAVID McCAUL JEWELLERY

David McCaul McCaul Goldsmiths, 56 Exmouth Market, London, EC1R 4QE, UK mccaul.com E. david@mccaul.com T. +353 87 737 6410 Recent Awards 2009 Craftsmanship & Design Awards, Goldsmiths’ Craft and Design Council, UK: Gold Award for Fine Jewellery Design; Silver Award for Setting (Senior Level) 2008 RDS National Crafts Competition: First Prize Precious Metal Category; Winner Best Graduate Prize 2006 The Goldsmiths’ Company: Graduate Bursary

David McCaul creates handcrafted bespoke jewellery pieces using ancient and modern techniques. → My jewellery Recent/Current Exhibitions is an exploration of line, form and GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin technique. Led by an interest in the Castle; Artesania Catalunya CCAM, Barcelona, Spain and fluidity of natural shapes and asymmetric National Design & Craft Gallery, Kilkenny curves, I create pieces that celebrate 2018 Meet the Maker, Fortnum & Mason, London, UK the contours of the body. → I employ the 2008 Goldsmiths’ Fair, —2017 Goldsmith’s Hall, London, UK ancient metalwork techniques of either 2013 Growing Talent, Goldsmith’s Hall, London, UK hand forging or lost wax casting.

2004 Influence, National Museum of Ireland, Collins Forging highlights the metal’s solidity Barracks, Dublin and ductility allowing me to create Gallery Representation — McCaul Goldsmiths, 56 Exmouth Market, minimalist fluid forms with an inherent London, EC1R 4QE, UK strength. When wax carving, I can directly sculpt shapes into a material which is then cast into precious metal, making every piece one of a kind. → Combining these traditional modes of hand-making with modern processes such as micro-pavé setting and TIG welding has lead me to achieve a distinctive design style. I enjoy pushing the ways of working with metal. My understanding of the material allows me to create both liquid-like and freeform jewellery pieces out of solid precious metal. → David holds a Certificate in Jewellery Production Skills from the Design & Crafts Council of Ireland (2003), a Bachelor of Design from the National College of Art and Design, Dublin (2004), and an MA in Jewellery Design from London Metropolitan University (2008). In 2010, he set up his atelier, McCaul Goldsmiths in Exmouth Market, London with his brother, Barry, where he is now based.

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PORTFOLIO Critical Selection 2019—2020

↑

Sirius Ring 18ct rose gold, brilliant cut white diamonds 2.5 × 2.5 × 3cm Photographer, Roland Paschhoff

81

Design & Crafts Council of Ireland

Eimear Conyard Metals

EIMEAR CONYARD METALS

Eimear Conyard eimearconyard.com E. eimear@eimearconyard.com T. +353 87 753 3648

— — — —

Collections and Commissions National Museum of Ireland Ulster Museum, Belfast Turnov Museum, Czech Republic Numerous private collections nationally and internationally Recent Awards 2014 RDS National Crafts Competition: Jewellery Category Winner 2014 RDS National Crafts Competition: California Gold Medal; Jewellery Precious Metal Category Winner; Jewellery Alternative Materials Category Winner.

Golden Fleece Award: Shortlisted 2012 Philadelphia Museum of Art and Design Craft Show: Best Guest Artist

I have been predominantly a jewellery and timepiece designer since 1995 and this new scale and design of purely sculptural pieces is a new direction for my work. I think it is evident however that these sculptural vessels are made by the hand of a goldsmith with Recent/Current Exhibitions a scale that infers personal belonging.

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin I experiment throughout the making Castle; Artesania Catalunya CCAM, Barcelona, Spain and process to fully exploit the qualities of National Design & Craft Gallery, Kilkenny the metal and materials. → I have found Monumentality / Fragility, National Design & Craft this recent design and making process Gallery, Kilkenny 2018 Monumentality / Fragility, a freeing experience as I did not have to Mons Anciens Abbatoir, Mons, Belgium worry about the functionality of the pieces; they are self-contained sculptural, decorative objects. → I have incorporated keum-boo, an ancient Korean gilding technique, to apply thin sheets of pure gold to the surface of silver vessels that rest on silver and acrylic bases . Metal, colour and material contrasts and combinations will continue to inform my design process and I am energised by these new forms, scale and design possibilities. → Eimear graduated with a Bachelor of Design specialising in Metals from the National College of Art and Design, Dublin in 1995. In 1999, she received a Masters of Design specialising in Jewellery and Silversmithing from The Glasgow School of Art, Scotland. She is Manager of the Design & Crafts Council of Ireland’s Jewellery and Goldsmithing Skills & Design Course and is based in Co. Kilkenny.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

2016

2015

2014

2013

2012

2011

2008

2007

↑

Vortex silver and 24ct gold vessel resting on a silver, leather and acrylic base, vessel: 8 × 6cm, base: 9 × 9cm Photographer, Rory Moore

83

2006

2005

Bounded and Unlimited, National Design & Craft Gallery, Kilkenny Froots & Nogart Gallery, Shanghai, China PORTFOLIO @ Solomon: Jewellery, Solomon Fine Art, Dublin Beijing International Jewellery Art Exhibition, Beijing, China RDS National Craft Awards Exhibition, RDS, Dublin and The Hunt Museum, Limerick Irish Designer Goldsmiths, So Fine Art Editions, Dublin Summer Show, Cill Rialaig Arts Centre, Co. Kerry Amarach, Designworks Studio, Cork Adorn, Inhorgenta International Jewellery Fair, Munich, Germany Future Beauty?, National Design & Craft Gallery, Kilkenny Museum of Art and Design Craft Show, Philidelphia, USA LOOT, Museum of Art and Design, New York, USA My Place, Bluecoat Display Centre, Liverpool, UK Festival of Irish Design, Project 51, Dublin Irish Craft Portfolio, RHA, Dublin 21st Century Icons, National Craft Gallery, Kilkenny and Rathfarnham Castle, Dublin Ornament, Rua Red Gallery, Dublin Irish Craft Portfolio, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Goldsmith Design and Craft Awards Exhibition, London, UK Embrace, School of Jewellery, Birmingham, UK and Da Capo Studios, Dublin Turnov Jewellery Symposium, Turnov Museum, Turnov, Czech Republic Silver School, Legnica, Galleria Sztuki, Lodze, Poland Adorn, Da Capo Studios, Dublin Time, Roger Billcliffe Gallery, Glasgow, Scotland Piece, National Craft Gallery, Kilkenny Praxis, Appalachian Centre for Crafts Gallery, Tennessee, USA Object Lessons, School of Jewellery, Birmingham, UK

Emma Bourke Glass

EMMA BOURKE GLASS

Emma Bourke E. ekbourke@gmail.com

— — — —

Collections and Commissions Mayo County Council National Museum of Ireland Corning Museum of Glass, New York, USA Numerous private collections nationally and internationally Recent Awards 2016 Jewellery Designer of the Year, Irish Fashion Innovation 2014 Boris Bally Residency, REclaim/Repurpose, Culture Craft, Northern Ireland Future Makers Practitioner Award, Design & Crafts Council of Ireland Golden Fleece Award, Merit Prize 2013 Futures Fund, University of Sunderland, UK John & Elsie Burton Flamework Scholarship, Pilchuck Glass School, USA 2009 Future Makers Award, Design & Crafts Council of Ireland

An awareness of our heritage is essential for the development of identity and the contextualisation of our cultures.

My research into botanical mythology assists me in understanding my personal identity and enables me to construct a sense of place within increasingly international systems of communication Recent/Current Exhibitions SOLO EXHIBITIONS and visual information. → Storytelling 2013 Elucidation, Westport Arts Festival, Westport Co. Mayo is the most common method of passing 2012 Flora Lucida, Linenhall Arts Centre, Castlebar, Co. Mayo on knowledge through generations.

Glass Flowers, Ards Arts Center, Newtownards, Ethnobotany, which is the scientific Co. Down 2011 Glass Flowers, Customs House study of the relationships that exist Studios, Westport, Co. Mayo Solo Glass Exhibition, between people and plants within Signal Arts Centre, Bray, Co. Wicklow our culture, forms a large part of the narratives of these stories handed down through the ages. Phrases, sayings and customs are an inherent part of community life, but in contemporary society, certain ethnographic aspects of daily life are regularly taken for granted. As an active response to this, my research and work in glass intentionally draws upon the stories and legends about plants as my main resource. → Recreating the physical form of the plants in another material is a further method of investigation. The process of flameworking a foxglove in glass means I am scrutinising the physicality, scale and fragility of the organic object. → Emma graduated from the National College of Art and Design, Dublin in 2009 with a BDes Honours in Craft Design: Glass. She went on to receive a Masters in Fine Art: Glass from the University of Sunderland, UK in 2013.

She is based in Westport, Co. Mayo.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

2010

Solo Glass Exhibition, Alley Arts & Conference Centre, Strabane, Co. Tyrone

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 Ipseity, Westival Gallery, Westport, Co. Mayo 2017 Ireland Glass Biennale, NCAD Gallery, Dublin 2017 RDS National Crafts Competition, RDS, Dublin 2015 PORTFOLIO @ Solomon: Glass, Solomon Fine Art, Dublin 2013 The Ireland Newfoundland Trail: A Journey of Plants and People, Crafts Council of Newfoundland and Labrador Gallery, Newfoundland, USA Sociolect, MA Exhibition, The Biscuit Factory, Newcastle, UK Idiolect, Bede’s World Museum, Jarrow, 2011 21 Century Icons, National —2012 Craft Gallery, Kilkenny; Rathfarnham Castle, Dublin; Galway Museum; Dublin Castle 2009 Sculpture in Context, —2012 National Botanic Gardens, Dublin 2011 Engaging With Glass, Solstice Arts Centre, Navan, Co. Meath Spring Showcase, National Glass Centre, Sunderland, UK Possibilities, Garter Lane Arts Centre, Waterford 2009 Future Makers, Crafts Council of Ireland, Kilkenny

↑

Kidney Cufflinks with Herb Robert inside borosilicate glass and silver 6 × 5 × 3.5cm each Photographer, Silvain Deleu

85

Grainne Watts Ceramics

GRAINNE WATTS CERAMICS

Grainne Watts grainnewattsceramics.com E. grainne@grainnewattsceramics.com T. +353 87 977 5335 Collections and Commissions — Design & Crafts Council of Ireland — Numerous private collections nationally and internationally Recent Awards 2017 RDS National Crafts Competition: California Gold Medal; Established Maker Award; Ceramics Category Winner 2014 RDS National Crafts Competition: Ceramics Category Winner; Ceramics Ireland Award; Design & Crafts Council of Ireland Purchase Award Winner of the Dublin Airport Authority commission to design the Allianz Business to Arts Award 2013 Mill Cove Gallery Award of Excellence 2012 Peter Brennan Pioneering Award

Grainne Watts’ current work features a collection of thrown vessels and a series of sculptural forms in porcelain and stoneware. She is inspired by the natural world, the landscape around her and nature photography. Over the years, Grainne has cultivated a visual and tactile vocabulary that feeds into the development of her ideas and reflects Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS her deep interest in colour, texture, form 2019 Surface Matters, Dublin Castle; Artesania Catalunya and elements of humour. → My making CCAM, Barcelona, Spain and National Design & Craft process involves numerous steps.

Gallery, Kilkenny 2018 Ceramic Art London, Initially, I do a series of drawings, London, UK A Pot in the Hand, The exploring ideas with form and surface Roundhouse Gallery, Derbyshire, UK treatments. I then create small versions of the piece and these are then used to experiment with colour combinations and surface detail. I want my work to evoke an emotional and sensory response and pursue this in my choice of form, refinement of the surface quality and use of vibrant colour that stimulates the viewer. → Grainne graduated from the National College of Art and Design, Dublin in 1982. She subsequently completed a two-year apprenticeship with Geoffrey Healy Pottery. She is currently based in Co. Wicklow.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

2017

2016

2015

2014

2013

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‘Ink Sky’ Bindu vessel and ‘Ink Sky’ Bindu vessel (detail) stoneware clay and underglazes 54 × 28cm Photographer, Roland Paschhoff

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Clay/Works, The Printworks, Dublin Castle, Dublin (and 2017) Sculpture in Context, National Botanic Gardens, Dublin Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales A vase is a vase is a vase, AD Gallery, Antwerp, Belgium Touchstone, Farmleigh Gallery and National Design & Craft Gallery, Kilkenny 10th Irish Ceramic Awards Exhibition, Mill Cove Galleries; Kerry & Cork RDS National Crafts Competition Exhibition, RDS, Dublin Ceramics Ireland Selected Exhibition, Rathfarnham Castle, Dublin Verve, Blue Egg Gallery, Wexford Vase: Function Reviewed, Farmleigh Gallery, Dublin Vase: Function Reviewed, National Design & Craft Gallery, Kilkenny Irish Contemporary Ceramics, The Barony Centre, West Kilbride, Scotland Sculpture In Context, National Botanic Gardens, Dublin International Symposium exhibition, Keramik Museum, Berlin, Germany PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin Ceramics Ireland Selected Exhibition, The Pearse Museum, Dublin PORTFOLIO, RHA, Dublin Centred, Farmleigh Gallery, Dublin Colour Vision, Blue Egg Gallery, Wexford Sculpture In Context, National Botanic Gardens, Dublin Ceramics Ireland Selected Exhibition, The Pearse Museum, Dublin

Gallery Representation Bils & Rye, York, UK Vanbrugh West Antiques, London, UK SO Fine Art Editions, Dublin Millcove Galleries, Cork and Kerry The Blue Egg Gallery, Wexford The Quay Gallery, Westport, Mayo Ardmore Gallery, Waterford

Jack Doherty Ceramics

JACK DOHERTY CERAMICS

Jack Doherty dohertyporcelain.com E. jack@dohertyporcelain.com T. +44 77 6633 4917

— — — — — — —

Collections and Commissions Castle Museum, Nottingham, UK Ceramics Museum, Faenza, Italy Cheltenham Art Gallery & Museum, UK Irish Contemporary Ceramic Collection, Hunt Museum, Limerick Museum of Liverpool, UK National Museum of Ireland Princeshof Ceramics Museum, The Netherlands Mashiko Museum of Ceramic Art, Japan The Potteries Museum & Art Gallery, Stroke–on–Trent, UK Ulster Museum, Belfast Numerous private collections nationally and internationally

— Jack Doherty’s work is a physical — and visual response to the landscape.

— — His work looks back to prehistory and the forms of the archetypal vessels Recent Awards 2016 Janet Mansfield Memorial used for storing, holding and preserving.

Award He considers our need for clay objects Recent/Current Exhibitions SOLO EXHIBITIONS and their changing role in a contemporary 2018 Grounding, New Craftsman Gallery, St Ives, UK world. → Grounding, his latest series of Grounding vessels from the land the sea and the sky, work, is inspired by journeys from his National Taiwan University, Taipei, Taiwan Cornwall home to Ireland, Japan and Vessels from Grass Mountain, URS 27M Gallery, Taipei, China. The vessels have their roots in soil, Taiwan 2017 Living Space, Beaux Arts nourished by a personal connection to Bath Solo exhibition, Mashiko place. Somehow the sea, sky and land Museum of Ceramic Art, Japan Living Space, Contemporary have infiltrated the work.→ Jack has Ceramics Centre, London, UK steadily refined his technical process using only one clay, one colouring mineral and a single firing. This has given him the opportunity to engage closely and physically with the making, and particularly with the soda firing.

These elemental ceramic forms are layered with aesthetic, visceral and spiritual meaning. → Doherty studied ceramics at the Ulster College of Art and Design before working as a potter at Kilkenny Design Workshops.

His first workshop was in Co. Armagh. He subsequently moved to live and work in Herefordshire, UK. From 2008 to 2013 he was the first Lead Potter and Creative Director at the refurbished Leach Pottery in St. Ives. He now works independently from his studio in Mousehole, Cornwall, UK.

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2015

2014

2012

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Guardian Vessel porcelain, clay, copper 43cm high Photographer, Roland Paschhoff

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New work, Biotop Gallery, Tokyo & Osaka, Japan Waypoint, Market Place Gallery, Co. Armagh and The Scottish Gallery, Edinburgh, Scotland Living Space, Gallery St. Ives, Tokyo, Japan Waypoint, New Craftsman Gallery, St Ives, UK Beaux Arts Gallery, Bath, UK Harbouring; Newlyn Art Gallery, Cornwall, UK and Brook St Gallery, Hay-onWye, Herefordshire, UK A Place in the World, Garden House, Cornwall, UK New Craftsman, St. Ives, Cornwall, UK Pure Simplicity, National University, Taipei, Taiwan Ormeau Baths Gallery, Belfast Jack Doherty, National Craft Gallery, Kilkenny Contemporary Ceramics Gallery, London, UK

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 Modern Masters, Munich, Germany International Chawan, Stratford Gallery, Stratford upon Avon, UK Ceramic Art London, London, UK (since 2004) 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Wales Touchstone, National Design & Craft Gallery, Kilkenny 2016 Made, Yorkshire Sculpture Park, Bretton Hall, Yorkshire, UK Transformed In Fire, Gallerytop, Derbyshire, UK Ó, Tent London, Old Truman Brewery, London, UK Art Fair Tokyo, Japan 2015 Side by Side, National Craft Gallery, Kilkenny and Centre Culturel Irlandais, Paris The Irish Connection, The Scottish Gallery, Edinburgh, Scotland 2014 Into The Field, The Model, Contemporary Arts Centre, Sligo

Design & Crafts Council of Ireland

2013

2012

2011

2010

2009

Weathering, TENT London, UK and Ullens Contemporary Art Centre, Bejing, China Centred, Farmleigh Gallery, Dublin Interplay, SO Fine Art Editions, Dublin Vue & PORTFOLIO, RHA, Dublin Moon Jar: Contemporary Translations, Korean Cultural Centre, London, UK Ceramics Now, New Ashgate Gallery, Farnham, UK COLLECT, National Craft Gallery, Kilkenny; Saatchi Galleries London, UK Future Beauty?, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Jack Doherty & Tomoo Hamada, Gallery St. Ives, Tokyo, Japan transFORM, Farmleigh Gallery, Dublin and Millennium Court Arts Centre, Co Armagh Tea Vessels, Mitzukoshi Gallery, Tokyo, Japan European Ceramic Context, Bornholm, Denmark Pots For Light, Galerie Besson, London, UK

Jennifer Hickey Ceramics

JENNIFER HICKEY CERAMICS

Jennifer Hickey jenniferhickey.com E. jennynihici@hotmail.com Collections and Commissions — National Museum of Ireland — Office of Public Works, Ireland — Numerous private collections nationally and internationally Recent/Current Exhibitions SOLO EXHIBITIONS 2013 Solo Exhibition, Rudolf Heltzel, Kilkenny

GROUP EXHIBITIONS AND FAIRS Jennifer Hickey makes hundreds of petal2019 Surface Matters, Dublin Castle; Artesania Catalunya like ceramic pieces that are then stitched CCAM, Barcelona, Spain and National Design & Craft with translucent thread to form her Gallery, Kilkenny 2018 Fired Earth, The Scottish sculptures. She is drawn to the beauty Gallery, Edinburgh, Scotland Best of Europe, Homo Faber, and subtlety of the natural world. Themes Venice, Italy The Miniaturists, The of fragility, ephemerality and translucency Scottish Gallery, Edinburgh, Scotland are central to her work. Rituals of making; EALAÍN, National Gallery of Ireland, Dublin physical rhythms, process and time Winter White, Taste Contemporary, Geneva, involved are central aspects to her Switzerland 2018 Touchstone, Farmleigh practice. The slowness and repetition —2017 Gallery Dublin and National Design & Craft in her making process are essential Gallery, Kilkenny 2017 Narratives in Making, components of her finished forms.

National Craft Gallery, Kilkenny and Ruthin Craft → I work from a small garden studio Centre, Wales 2016 East and West, Seoul, in my Dublin home. I use mainly South Korea porcelain because of its texture, colour and translucency. Each work I make is unique, so the surface quality differs from piece to piece. I make hundreds of thin porcelain pieces that I form by hand, pierce and fire to 1260°. After the firing, I hand sew each piece with translucent thread onto a fine tulle to create a larger sculptural form. It can take months to complete a sculpture. → Hickey graduated from the National College of Art and Design, Dublin in 2002 with a BDes in Ceramics. She is based in Dublin.

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2012 2011

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Spring porcelain, tulle, translucent thread sphere 1: 4.5cm diameter sphere 2: 7cm diameter Photographer, Muiris Moynihan

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Finders and Keepers, Municipal Gallery, Dublin PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin Centred, Wandesford Quay Gallery, Cork; Farmleigh Gallery, Dublin Generation, NCAD Gallery, Dublin PORTFOLIO, RHA, Dublin Future Beauty?, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Icon, Brown Thomas, Dublin Collect, Saatchi Gallery, London Made on Monday 3, Block T, Dublin PORTFOLIO, RHA, Dublin TransFORM, Farmleigh Gallery, Dublin; Millennium Court Arts Centre, Armagh; The Source Arts Centre, Tipperary Winter Group Show, The Peppercanister Gallery, Dublin Made on Monday, The Complex, Smithfield, Dublin Summer Group Show, The Peppercanister Gallery, Dublin Sculpture in Context, National Botanic Gardens, Dublin Sonja Landweer and Jennifer Hickey, The Peppercanister Gallery, Dublin Made on Monday, Broadstone Exhibition Space, Dublin

Joe Hogan Basketry

JOE HOGAN BASKETRY

Joe Hogan Loch Na Fooey, Finny, Clonbur, Co. Galway joehoganbaskets.com E. joe@joehoganbaskets.com T. +353 94 954 8241 Collections and Commissions — Boston College, USA — Collection of the Government of India — Department of Foreign Affairs, and Trade, Ireland — Limerick City Art Gallery — Office of Public Works, Ireland — Pinolere Baskets of the World Collection Canary Islands — Quinnipiac Famine Museum, USA — Ulster Museum, Belfast — Vissinggaard Museum, Denmark — Numerous private collections nationally and internationally

I became a basketmaker because I was attracted to the idea of growing my own willow and being involved in the whole process; from harvesting willow through Recent Awards 2018 Loewe Craft Prize Finalist to making a basket. → Although I made 2015 RDS National Crafts Competition: California Gold functional baskets for many years, Medal; Award of Excellence 2012 Selected for Living Legend I have, over the past fifteen years programme, World Crafts Council Summit, Chennai, become increasingly interested in India 2008 RDS National Crafts making artistic or sculptural baskets.

Competition: Reserve Award 2007 Don Juan Gonzalez Farina This work is prompted by a desire to Award, Spain 2006 Bursary Award Winner develop a deeper connection to the (Joint),Crafts Council of Ireland natural world. Every time we walk out Recent/Current Exhibitions into the world we have the opportunity SOLO EXHIBITIONS 2018 Learning from the Earth, to see it anew and to experience the The Scottish Gallery, Edinburgh, Scotland wonder of being here. Rilke talks about us being “the bees of the invisible”, gathering the honey of the visible and storing it in the hive of our consciousness. When I make artistic baskets I am trying to rediscover the richness in this store of images. I also hope it will touch the spirit of others in some way. → I am also influenced by environmental concerns and feel that the changes we need to make as a race will become possible only when we go beyond a merely rational analysis and begin to encompass the worlds of poetry and art to imagine new and more responsible ways of being in the world. My practice revolves around using basketry skills to express these ideas. → Joe works from his studio in Connemara, Co. Galway. He teaches basketmaking skills and has written three books on the craft, Basketmaking in Ireland (2001), Bare Branches, Blue Black Sky (2011) and Learning from the Earth (2018).

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Extra large pod on ash wood and pod with field stone, the first born of two sisters willow rods, ash wood, stones and bark, 136 × 146 × 148cm and 43 × 49 × 57cm Photographer, Michael McLaughlin

93

Woven Wild, The Scottish Gallery, Edinburgh, Scotland Tradition and Innovation, Dungarvan Arts Centre, Co. Waterford Bare Branches, Blue Black Sky; Garter Lane Arts Centre, Waterford; The Scottish Gallery, Edinburgh, Scotland; Aras Eanna Arts Centre, Galway; Dunamaise Arts Centre, Laois Wood meets Willow, Linen Hall Arts Centre, Mayo Weaving the Harvest, Grennan Mill, Kilkenny

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny Monumentality / Fragility, National Design & Craft Gallery, Kilkenny 2018 Monumentality / Fragility, Mons Anciens Abbatoir, Mons, Belgium Loewe Fashion Show, Spring/ Summer 2019, UNESCO, Paris, France Best of Europe, Homo Faber, Venice, Italy RHA 188th Annual Exhibition, RHA, Dublin Wood and Willow, Blue Egg Gallery, Wexford Loewe Craft Prize, Design Museum, London, UK 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Kogei Craft Trienale, Kanazawa, Japan RHA 187th Annual Exhibition, RHA, Dublin Elements: The Beauty of Imperfection, Curated by Sarah Myerscough, Gloucestershire & London, UK Lost and Found, Oxford Ceramics Gallery, Oxford, UK 2016 Modern Masters/Meister der Moderne, Munich, Germany RHA 186th Annual Exhibition, RHA, Dublin Garden, Walford Mill Crafts Centre, UK Ex Libris 2, The Scottish Gallery, Edinburgh, Scotland 2015 Side by Side, National Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France

Design & Crafts Council of Ireland

2014

2013

2012

PORTFOLIO @ Solomon: Basketry & Woodturning, Solomon Fine Art, Dublin Joe Hogan and Akiki Hirai, Oxford Ceramics Gallery, UK To Capture Silence, The Source Arts Centre Gallery, Tipperary Basket Identity, Riverhouse Gallery, West Sussex; SO Fine Art Editions, Dublin Common Ground, Oxford Ceramics Gallery, UK Taste Contemporary Craft, Gallerie Blondeau, Geneva Fibre Biennial, Snyderman Works Gallery, Philadelphia, USA CultureCRAFT, National Craft Gallery, Kilkenny Materialisation: Mapping the Making, VISUAL Carlow, Carlow Summer Show, Cill Rialaig Arts Centre, Kerry Material Subversion, Naughton Gallery, Queens University, Belfast This Beloved Earth, The Barony Centre, North Ayrshire, Scotland Out of the Marvellous, National Craft Gallery, Kilkenny; Solstice Arts Centre, Navan; Mermaid Arts Centre, Wicklow Future Beauty?, National Craft Gallery; Farmleigh Gallery, Dublin COLLECT, Saatchi Gallery, London, UK (also 2010 and 2009) Nature in Craft, Wayne Arts Centre, Philadelphia, UK Bare Stems, Dartington Hall, Devon, UK ICON, Brown Thomas, Dublin Making and Drawing, The Harley Gallery, Nottinghamshire, UK Vessels, Cill Rialaig Arts Centre, Kerry RHA Annual Exhibition, RHA Gallery, Dublin Baskets, Old and New Masters, Landskrona Museum, Sweden Made by Hand, Moulshams Manor, Essex, UK 35 years Galerie Ra, Galerie Ra, Amsterdam, The Netherlands Object, Rotterdam, The Netherlands and Frame Munich, Germany

John Lee Furniture

JOHN LEE FURNITURE

John Lee Pagestown, Maynooth, Co. Meath johnleefurniture.com E. john@johnleefurniture.com T. +353 1 505 4660 Collections and Commissions — National Museum of Ireland — Office of Public Works, Ireland — Commission for new Irish Presidential Inauguration Chair, Áras an Uachtaráin (2011) — Commission for President of Ireland, Mary McAleese, Áras an Uachtaráin (2008 + 2009) — Numerous private collections nationally and internationally

John Lee is inspired by naturally occurring geometric forms and the Recent Awards 2017 Winner, Golden Fleece Award effects of weathering and erosion.

2015 RDS National Crafts Competition: Furniture Award Working with hardwoods such as oak, Irish Design 2015 Award for Excellence and Innovation and ash, his current work explores the in Craft enhancement of timber’s natural Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS properties, while experimenting with 2019 Surface Matters, Dublin Castle; Artesania Catalunya form, function and finish. Aiming to CCAM, Barcelona, Spain and National Design & Craft give his furniture a sensual appeal, Gallery, Kilkenny 2017 Narratives in Making, he investigates textured finishes by National Design & Craft Gallery, Kilkenny and Ruthin exposing the timber’s natural grain Craft Centre, Ruthin, Wales 2015 PORTFOLIO @ Solomon: patterns on his free-flowing dynamic Furniture, Solomon Fine Art, Dublin forms. An underlying trait of his work RDS National Craft Awards Exhibition, RDS, Dublin is the use of contrasting smooth and 2013 Future Beauty?, National Craft Gallery, Kilkenny textured surfaces. The aesthetic of his work is often inspired by natural landscapes and coastlines, as is the case with Lillias and Sliabh. → A regular feature of my work is the use of textured surfaces.

This involves sandblasting the piece with a large industrial sandblaster which I undertake in my spray booth. Sandblasting is quite a tedious and messy process but I love how it exposes and highlights the natural grain patterns in the wood. The final process is to seal the wood, usually with a dead matte lacquer. → John graduated from the Bachelor of Furniture Design and Manufacture Course, GMIT Letterfrack, Co. Galway in 1993.

He received a Bursary Award from the Design & Crafts Council of Ireland in 2011 and used this to complete a course in AutoCAD and 3D Design.

He is based in Co. Meath and works mainly to commission.

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2011

2005 —2010 2010

2009

2008

2007

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Sliabh oak, 150 × 55 × 80cm Photographer, Roland Paschhoff

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From Table to Wall, Flow Gallery, London, UK Design Miami / Basel, Nilufar Gallery, Basel, Switzerland PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin; RHA Gallery, Dublin PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin; RHA, Dublin Interior Design & Art Fair, RDS, Dublin COLLECT, Saatchi Gallery, London, UK Designers and Makers, FE McWilliam Gallery, Banbridge, Co. Down 100% Design, Earls Court, London, UK, Organic Geometry, National Craft Gallery, Kilkenny SOFA Chicago, USA Ecology, Mythology, Technology, Farmleigh Gallery, Dublin Ecology, Mythology, Technology, National Craft Gallery, Kilkenny

Joseph Walsh Furniture

JOSEPH WALSH FURNITURE

Joseph Walsh Fartha, Riverstick, Co. Cork josephwalshstudio.com E. info@josephwalshstudio.com T. +353 21 477 1759 Collections and Commissions — Centre Pompidou, Paris, France — Cooper Hewitt Smithsonian Design Museum, New York, USA — Devonshire Collection, Chatsworth House, UK — Embassy of Japan, Dublin — John H Bryan Collection, Illinois, USA — Lord and Lady Harrington Collection, London, UK — Museum of Arts and Design, New York, USA — National Museum of Ireland — Rafael Vinoly, Uruguay — Sacred Heart Church, Minane Bridge, Co. Cork — St Mary’s Church, Innishannon, Co. Cork — Mint Museum, Charlotte, North Carolina, USA — Ulster Museum, Northern Ireland — DaLisca Family Church, Verona, Italy — National Gallery of Ireland — Tsubaki Grand Shrine, Japan

Joseph Walsh creates innovative, sculptural furniture works. His approach to design and process is influenced by the patterns of growth and evolution found in nature. He states that his practice is informed by the understanding and sympathetic use of material; the intimate relationship between the process of Recent/Current Exhibitions finding forms and creating structures SOLO EXHIBITIONS 2018 Rinn, Yufuku Gallery, and the continuity and resolve from the Sogetsu Arts Centre, Tokyo, Japan concept to the making process. → In the 2017 Joseph Walsh Exhibition, Yufuku Gallery, Tsubaki Enignum series of work, I have stripped Shrine, Suzaka, Japan Reveal, American Irish wood into thin layers, manipulating Historical Society, New York, USA and reconstructing them into free form compositions. I then shape through these layers to reveal not only the honesty of the structure, but the sculpted form which is a unique collaboration of man and material. The title derives from the Latin words Enigma (‘mystery’) and Lignum (‘wood’). For me, they sum up the series — the mystery of the composition lies in the material. → Joseph is a self-taught designer-maker. His studio and workshop, which employs a team of master makers, design technicians and their assistants, was founded in 1999 and is based in Co. Cork.

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Rinn Enignum Shelf ash, bleached finish 51 × 220 × 270cm Photographer, Andrew Bradley

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Design & Crafts Council of Ireland

Joseph Walsh, The Roche Court Educational Trust, New Art Centre, UK Lilium, Oliver Sears Gallery, Dublin ENIGNUM and other stories, Oliver Sears Gallery, Dublin Realisations, American Irish Historical Society, New York, USA

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 Earth, Wind & Fire, Crawford Art Gallery, Cork 2017 Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Making/Breaking, Cooper Hewitt Museum, New York, USA Design Miami/Design Basel, with Sarah Myerscough Gallery, Miami, USA Design Basel, with Sarah Myerscough Gallery, Basel, Switzerland PAD, with Sarah Myerscough Gallery, London, UK The Salon Art + Design, with Sarah Myerscough Gallery, New York, USA 2016 Masterworks, Long House Reserve, East Hampton, New York Royal Academy Summer Exhibition, London, UK 2015 Objects in Flux, Museum of Fine Arts, Boston, USA Make Yourself Comfortable, Chatsworth, UK Side by Side, National Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France 2014 The Salon: Art + Design, Todd Merrill Contemporary Studio, New York, USA Design Show, The New Art Centre, Artist House, Roche Court, UK Collective 2, Skylight at Moynihan Station, NY, USA 2013 Against the Grain: Wood in Contemporary Art and Craft,

2012

2011

2010

2009

2008

2007

Museum of Art Fort Lauderdale, Museum of Art and Design & Mint Museum Uptown, USA Cheongju International Craft Biennale, Cheongju, South Korea Modern Makers, Chatsworth House, Derbyshire, UK Salone del Mobile, Nilufar Gallery at Palazzo Durini, Milan, Italy Design Days Dubai, Nilufar Gallery, Dubai, UAE dubh — dialogues in black, American Irish Historical Society, New York, USA Black & White, Oliver Sears Gallery, Dublin Design Miami / Basel, Nilufar Gallery, Basel, Switzerland Pavilion des Art et du Design, Nilufar Gallery, Paris, France Salone de Mobile, Milan, Italy COLLECT, Saatchi Gallery, London, UK dubh — dialogues in black, Oliver Sears Gallery, Dublin MATERIALpoetry, The American Irish Historical Society, New York, USA PORTFOLIO, National Craft Gallery, Kilkenny Pavilion of Art & Design, Todd Merrill Studio Contemporary, London, UK Design Miami, Florida, USA Pavilion of Art & Design, London, UK Grassimesse, Grassimuseum, Leipzig, Germany Design Miami / Basel, Messe, Basel, Switzerland SOFA Chicago, USA (also 2007 and 2006) Ecology, Mythology, Technology, Farmleigh Gallery, Dublin Contemporary Irish Decorative Objects & Furniture, La Gallerie SEMA, Paris, France

Gallery Representation — Dommus series represented by Sarah Myerscough Gallery, London, UK

Mike Byrne Ceramics

MIKE BYRNE CERAMICS

Mike Byrne mikebyrne.ie E. mikebyrneceramics@gmail.com

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Collections and Commissions AIB Bank Áras an Uachtaráin Glór, Ennis, Co. Clare Limerick Chamber of Commerce Limerick City Gallery of Art Mary Immaculate College Office of Public Works, Ireland Price Waterhouse Ulster Museum University of Limerick Numerous private collections nationally and internationally

I have always been interested in domestic ceramics, more specifically Recent/Current Exhibitions SOLO EXHIBITIONS the jug, the archetypical domestic 2018 Into the Half Light, Custom House Gallery and object. I use it to explore the edges of, Studios, Westport, Co. Mayo 2008 Orto Botanico, Limerick and the connections between design, Printmakers, Limerick 2005 16 large format woodcuts, function, narrative and art. The use of Murray O’Laoire Architects, Gerard Griffin Street, a combination of fired clay and other Limerick 2004 Urbs Antiqua, New woodcuts, materials, both found and worked, and —2005 University of Limerick 2003 Skies Over Venetia and the freedom to play fast and loose with other Vistas, Glór, Ennis, Co. Clare the elements, is an attempt to erode the 2001 MA Show, Limerick City Hall boundaries between these disciplines.

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin The way in which we consider familiar Castle; Artesania Catalunya CCAM, Barcelona, Spain and objects and their various relationships National Design & Craft Gallery, Kilkenny with symbolism, ceramic history and Valcke Art Gallery, Ghent, Belgium material culture is also part of the exploration. → Each structured piece is slab built, with surface patina resulting from multiple layers of engobe.

Numerous firings take place until the desired depth of surface colour and texture is reached. → Mike graduated from the Ceramics Course at Limerick School of Art and Design in 1977, followed by a period working as a designer in the Kilkenny Design Workshops. In 1979 he returned to Limerick, setting up a small industrial production unit. His strong interest in printmaking culminated in completing a Fine Art MA in 2001. Having lectured throughout his career he went on to become Course Leader of the Ceramics Design Course at Limerick School of Art & Design, recently retiring in 2016. He is based in Limerick City.

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PORTFOLIO Critical Selection 2019—2020

Design & Crafts Council of Ireland

2018

2017

2016

2015

2014

2013

2012

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On best behaviour (detail) fired clay, 46 × 36 × 14cm Photographer, Roland Paschhoff

Blurring the Edge, Hunt Museum, Limerick Ceramics Ireland Annual Selected Members Exhibition, Rathfarnham Castle, Dublin Vase: Function Reviewed, Farmleigh Gallery, Dublin Touchstone, Farmleigh Gallery and National Craft Gallery, Kilkenny Jugs, Blue Egg Gallery, Wexford Ceramics Ireland Open, The Printworks, Dublin Castle Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Irish Contemporary Ceramics, Barony Centre, Scotland Ceramics Ireland Open, Farmleigh Gallery, Dublin RDS National Craft Competition Exhibition, RDS, Dublin; National Museum of Country Life, Mayo Vase: Function Reviewed, National Craft Gallery Kilkenny PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin The Art of the Potter, Cill Rialaig, Kerry CREATE, Brown Thomas, Dublin Limerick Printmakers, Hunt Museum, Limerick Irish Ceramic Awards, Mill Cove Gallery, Co. Cork Culture of Clay, Hunt Museum, Limerick Open submission ’13, Limerick Printmakers, Limerick Islands, Custom House Gallery, Westport, Co. Mayo Open submission ’12, Limerick Printmakers, Limerick Limerick Printmakers Studio and Gallery Exhibition, Kulturwerk des bbk, Berlin, Germany X, A collaborative Box Set Project, Limerick Printmakers and RTÉ Lyric FM, Limerick 29th Mini Print International, Cadaqués, Spain Burst Into Bloom, Glór Gallery, Ennis, Co. Clare

Gallery Representation — SO Fine Art Editions, Dublin

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Nuala O’Donovan Ceramics

NUALA O’DONOVAN CERAMICS

Nuala O’Donovan nualaodonovan.com E. nualaodonovan@hotmail.com T. +353 87 641 3651

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Collections and Commissions National Museum of Ireland Ulster Museum, Northern Ireland Cork Institute of Technology, Cork Numerous private collections nationally and internationally Recent Awards 2017 Golden Fleece Award — Merit Prize 2011 Golden Fleece Award — Merit Prize 2010 RDS National Crafts Competition: First Prize Contemporary Ceramics 2009 RDS National Crafts Competition: First Prize Contemporary Ceramics; Ceramics Ireland Award and Design & Crafts Council of Ireland Purchase Award 2010 Golden Fleece Award — Shortlisted

I make sculptural pieces based on the geometry of natural forms. I currently use porcelain as my main material.

The sculptural forms are constructed slowly over a period of weeks or months, and fired a number of times during the making process. → My work combines Recent/Current Exhibitions regular pattern with the characteristics GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin of fractal forms from nature. The finished Castle; Artesania Catalunya CCAM, Barcelona, Spain and forms are a result of an intuitive response National Design & Craft Gallery, Kilkenny to the direction that the pattern takes as Particle and Wave, Arizona State University Museum well as the irregularity in the handmade (and touring), USA 2018 Earth, Wind & Fire, elements of the pattern. → I am interested Crawford Art Gallery, Cork Best of Europe, Homo Faber, in the contrasts and similarities between Venice, Italy traditional Western aesthetics, which sought to portray beauty through classical geometry, and Eastern/Buddhist aesthetics of beauty, which celebrate the imperfection. I feel that the common area recognised by both of thesetraditions lies between classical symmetry in regular geometry and the characteristic of self-similarity in irregular geometry, that is; the beauty of harmonious form created by the repetition of proportion. → Nuala completed a BA in Three Dimensional Design at Middlesex University, UK in 1994. In 2008, she received an MFA in Ceramics from Crawford College of Art and Design, Cork. She lives and works in Cork.

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2017

2016

2015

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2011 2011

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Teasel, Time (detail) porcelain, 62 × 38 × 32cm Photographer, Janice O’Connell at f22 Photography

2010 —2011 2010 2009

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The Maker’s Hand, RDS, Dublin EALAÍN, National Gallery of Ireland, Dublin Touchstone, Farmleigh Gallery Dublin and National Design & Craft Gallery, Kilkenny They’re Fired!, Bernice Steinbaum Gallery, Florida, USA Shadow of Sodeisha, National Museum of Ireland, Dublin RHA 187th Annual Exhibition, RHA, Dublin TASTE at Artgenève, Geneva, Switzerland In Residence 2, Oliver Sears Gallery, Six Fitzroy Square, London, UK In Residence, Oliver Sears Gallery, Six Fitzroy Square, London, UK Absence of Colour, Tansey Contemporary, New Mexico, USA DESIRE PATHS, ARTHOUSE1, London, UK Sculpture As Textile, Bluecoat Arts Centre, Liverpool, UK Centered, Farmleigh Gallery, Dublin and Wandesford Quay Gallery, Cork SOFA Chicago, with Tansey Contemporary, Chicago, USA Royal Ulster Academy Annual Exhibition, RUA, Belfast EnArt, Taichung & Taipei, Taiwan Five into Four, Oliver Sears Gallery, Dublin Royal Academy Summer Exhibition, London, UK dubh — dialogues in black, American Irish Historical Society, New York, USA SOFA, New York, USA COLLECT, London, UK (also 2010) Ceramic Art London, London, UK (also 2011 and 2010) dubh — dialogues in black, Oliver Sears Gallery, Dublin TransFORM, Farmleigh Gallery, Dublin Talking in Clay, The Courtyard, Herefordshire Centre for the Arts, UK MATERIALpoetry, American Irish Historical Society, New York, USA RHA 180th Annual Exhibition, RHA, Dublin RHA 179th Annual Exhibition, RHA, Dublin

Roger Bennett Wood

ROGER BENNETT WOOD

Roger Bennett rogerbennettwoodturner.com E. parkbenn@gmail.com T. +353 87 056 7896 Collections and Commissions — Columbus State University, Georgia, USA — Department of Foreign Affairs and Trade, Ireland — Dublin Airport Authority — Fuller Craft Museum, Massachusetts, USA — Honolulu Museum of Art, Hawaii, USA — Mobile Museum of Art, Alabama, USA — Museum of Fine Arts, Boston, USA — National Museum of Ireland, Dublin — Office of Public Works, Ireland — Ulster Museum, Belfast — Numerous private collections nationally and internationally

Roger Bennett specialises in making very distinctive one-off bowls and vessels, usually thin-walled, inlaid with silver, and coloured with wood Recent Awards 2016 RDS National Crafts dyes. → I love wood, the uniqueness Competition: Established Maker Award of each piece, the history of the tree’s 2012 RDS National Crafts Competition: Crafts Council life preserved in the ring patterns and of Ireland Purchase Award figuring. I delight in the daily interaction Recent/Current Exhibitions SOLO EXHIBITIONS between maker and material, the 2011 Roger Bennett: Fine Wood Vessels, Open Eye Gallery, magic of shaping, turning argument Edinburgh, Scotland into conversation. → I dream of making GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin a bowl as strong as an eggshell, Castle; Artesania Catalunya CCAM, Barcelona, Spain and as heavy as a whisper. Of capturing National Design & Craft Gallery, Kilkenny and fixing the colours which so move 2018 Wood Work, Blue Egg Gallery, Wexford me — drake mallard green, oil on water, midnight in midsummer, frosty night skies. → And with silver I can indulge my love of order, impose my markings on the wood’s surface, complementing the natural flows and eddies of the grain with my precise patterns of dots. → A completed bowl should satisfy all our senses. Line and form above all else, traced by eye and hand, from rim to base and all around. The smell of wood and oil. And whenever a bowl is right, it sings…. → Roger has a degree in English and French from Trinity College, Dublin. He is a self-taught woodturner and works from his studio in Co. Dublin.

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2018

2018

2018 2017

2016

2015

2014

2013

2012

2011

2007 —2011 2010

2006 —2010 2009

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Inlaid sycamore bowl sycamore wood, argentium tarnish-resistant silver, wood dyes, Danish oil, 16.5 × 8.5cm Photographer, Roland Paschhoff

2006 —2009

2008

Small Treasures and Turned and Sculpted Wood, Wood Symphony Gallery, Los Angeles, USA Spring Exhibition, Stour Gallery, Shipston-on-Stour, UK The Maker’s Hand, RDS, Dublin Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Up Front, Craft Centre & Design Gallery, Leeds, UK Focus on Wood, Cill Rialaig Arts Centre, Kerry Side by Side, National Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France The Irish Connection, The Scottish Gallery, Edinburgh, Scotland PORTFOLIO @ Solomon: Basketry & Woodturning, Solomon Fine Art, Dublin Greenacres Opera Festival Exhibition, Wexford Is it wood?, Ruthin Craft Centre, Wales Bravura, Blue Egg Gallery, Wexford Future Beauty?, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin My Place, Bluecoat Display Centre, Liverpool, UK Vessels, Cill Rialaig Arts Centre, Kerry Craftboston, USA (also 2011, 2010 and 2008) Irish Craft Portfolio, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Small Treasures, del Mano Gallery, Los Angeles, USA Irish Craft Portfolio, National Craft Gallery, Kilkenny; Kenny Gallery, Galway; Farmleigh Gallery, Dublin SOFA Chicago, USA (also SOFA New York, 2007) Contemporary Craft Fair, Bovey Tracey, Devon, UK Turning Wood into Art, Sarah Myerscough Fine Art, London, UK Origin, London, UK Gifted, Wexford Arts Centre, Wexford

Gallery Representation — DesignYard, Dublin

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Sara Flynn Ceramics

SARA FLYNN CERAMICS

Sara Flynn saraflynnceramic.com E. saraflynn71@gmail.com

— — — — — — — — — — — — —

Collections and Commissions Victoria and Albert Museum, London, UK The Gardiner Museum, Toronto, Canada The Hunt Museum, Limerick The Fitzwilliam Museum, Cambridge, UK Chatsworth House, Derbyshire, UK Shanghai Municipal People’s Government, China The Art Institute of Chicago, USA Office of Public Works, Ireland National Museum of Ireland Loewe, Madrid, Spain Columbus State University, USA Crawford Municipal Art Gallery, Cork Department of Foreign Affairs and Trade Ireland Numerous private collections nationally and internationally

Concentrating on the challenges of thrown forms which are then altered and changed at varying stages of the — drying process, I produce sculptural Recent Awards decorative vessels. ‘Closed’ abstract 2017 Loewe Craft Prize Finalist 2016 Golden Fleece Award — Merit forms are also explored through the 2014 European Ceramic Context, Bornholm, Denmark production of limited edition cast bronze 2010 Winner, Peter Brennan Pioneering Potter, Ceramics objects. In essence, the major concerns Ireland Award that my work deals with are a love Recent/Current Exhibitions SOLO EXHIBITIONS of form, line and volume expressed 2018 Sara Flynn, Erskine Hall & Coe, London, UK through the qualities and scope of my 2016 Sara Flynn, Erskine Hall & Coe, London, UK chosen materials. → I have an ongoing 2015 Ontogeny, Millennium Court Arts Centre, Portadown, relationship with porcelain, and for now Co. Armagh 2014 Sara Flynn, Erskine Hall & it is still my clay of choice. Of great Coe, London, UK importance is the potential of new and exciting edges, contours and shapes which can be explored through an understanding of material qualities and increasing skill. → Currently the main elements feeding the development of the work are process and finish coupled with constant exploration and a deepening understanding of form, volume and silhouette. Sympathy with my materials is a crucial aspect feeding how I work and what I make. → Another important aspect of my thinking and development of ideas involves ‘play’. Experimenting. Trying things out which often initially don’t work. This uninhibited part of my making cycle involves risk-taking, failure and critical understanding. It is fundamental to my way of understanding and to resolving ideas. → Sara graduated from Crawford College of Art & Design, Cork in 1998 with a Degree in Ceramic Design. She is based in Belfast.

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2012

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Flection Vessel porcelain, manganese glaze 31cm high Photographer, Glenn Norwood

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Sara Flynn, Erskine Hall & Coe, London, UK

GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 Modern Masters, International Trade Fair, Munich, Germany 2017 Chance Encounters 3 — Lionel Wendt, Richard Smith, Sara Flynn, Miami Design District, Florida, USA Disobedient Bodies, JW Anderson Curates, The Hepworth Gallery, Wakefield, UK PAD, (represented by Movements Modernes Gallery), Paris, France Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 Vase: Function Reviewed, National Design & Craft Gallery, Kilkenny London Art Fair, London, UK 2015 Side by Side, National Design & Craft Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France Caliology & Lineage, Oliver Sears Gallery, Dublin Basic Black, Lacoste Gallery, Concord, USA Sara Flynn and Matthew Chambers, Puls Gallery, Brussels, Belgium Taste: Contemporary Crafts, Geneva, Switzerland (also 2014) London Art Fair, (represented by Erskine, Hall & Coe), London, UK 2014 Centred, Farmleigh Gallery, Dublin Vase, Vessel, Void, Oliver Sears Gallery, Dublin 2013 FIVE into FOUR, Oliver Sears Gallery, Dublin Future Beauty?, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Liverpool Corked, Bluecoat Display Centre, Liverpool, UK In Situ, The Djanogly Art Gallery, Nottingham University, UK

Design & Crafts Council of Ireland

2012

2011

2010

COLLECT, Saatchi Gallery, London, UK (also 2011, 2010 and 2006) SOFA New York, USA (also SOFA Chicago, 2008 and 2007) dubh — dialogues in black, Oliver Sears Gallery, Dublin Ceramic Art London, London, UK (also 2010 and 2011) In Situ, The Civic, Barnsley, Yorkshire, UK My Place, The Bluecoat Display Centre, Liverpool, UK dubh — dialogues in black, The American Irish Historical Society, New York, USA PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin Black, Leach Pottery Museum, St. Ives, UK MATERIALpoetry, The American Irish Historical Society, New York, USA Summer Exhibition, Galerie Besson, London, UK PORTFOLIO, National Craft Gallery, Kilkenny; Kenny Gallery, Galway; Farmleigh Gallery, Dublin Black and Gold, Platform Gallery, Lancashire, UK

Gallery Representation — Erskine, Hall & Coe, London, UK

Sasha Sykes Furniture

SASHA SYKES FURNITURE

Sasha Sykes sashasykes.com E. sasha@sashasykes.com T. +353 86 871 1901

— — — — — — — — —

Collections and Commissions National Museum of Ireland Office of Public Works, Ireland Bank of America Porsche Family Maxmara Kelli Weinzierl Carton House, Kildare The Cliff House Hotel, Co. Waterford Farnhan Estate, Co. Cavan

Sasha Sykes is influenced by the scale Recent/Current Exhibitions SOLO EXHIBITIONS and aesthetic of the Irish landscape and 2018 1:8, Voltz Clarke Gallery, New York, USA its impact and relationship with social 2016 Caliology, Oliver Sears Gallery, Dublin history and humanity. Using acrylics and 2014 Encased, Armory Week, New York, USA hand-cast resins, she embeds found Solo Show, Anthropologie Gallery, London, UK objects and collected organic materials 2013 The Walls of Cashel, Cashel, Tipperary such as wildflowers, thistles, mosses, 2003 Farm21, CC Gallery, Westbourne Grove, London, UK lichens, seaweeds and shells. → I like to GROUP EXHIBITIONS AND FAIRS work with unusual organic and locally 2019 Surface Matters, Dublin Castle; Artesania Catalunya found materials; e.g. wildflowers and CCAM, Barcelona, Spain and National Design & Craft grasses from the Wicklow mountains, Gallery, Kilkenny 2018 Best of Europe, Homo Faber, mosses and lichens from Carlow or Venice, Italy EALAÍN, National Gallery of seaweeds and wild thistles from the Ireland, Dublin Salon, Oliver Sears Gallery, south and west coasts. Together, objects Dublin 2017 PAD, Berkeley Square, such as these tell intimate stories about the physical locality as well as shedding light on the values and priorities of people living in the area.

This combination of the natural habitat and man’s influence shape and colour everything in our world. → Sasha’s aim is to preserve, present and contextualise in an innovative and functional way.

The resins heighten the colours, textures and forms of the material, highlighting their fragility and also their stage in the cycle of life.

The final work is then meticulously sanded and polished giving it its translucency and emphasising the delicacy of the encased materials. → Sasha received an MA in Architecture from Edinburgh University, Scotland in 1998. She subsequently worked in retail design in London and New York. In 2001 she established Farm21, designing and making contemporary handcrafted rural furniture. She lives and works in Dublin.

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and 2018 2017

2016 2015 2014 2013

2012

2011

2010

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Gyre (Ophelia) (detail) thirty-five varieties of foraged red, brown and green Irish seaweed, resin, acrylic, steel rods 185 × 220/280 × 3.3cm Photographer, Phillip Gates courtesy of the Peter Petrou Gallery

2009

2007

Mayfair, London, UK Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Wales A Name Unmade, Solstice Arts Centre, Co. Meath; Nerve Centre, Derry and Centre Culturel Irlandais, Paris, France Tresor Contemporary Craft, Basel, Switzerland Summer Show, Voltz Clarke Gallery, New York, USA In Residence, Oliver Sears Gallery, London, UK Vase, Vessel, Void, Oliver Sears Gallery, Dublin Cheongju Biennale, Korea Vernacular, London Design Week, London, UK Future Beauty?, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin Éigse, Carlow After & Since, Newtownbarry House, Wexford True Love, Kilgraney House, Carlow Living With Design, The Malthouse Design Centre, Dublin; National Craft Gallery, Kilkenny Icon, Brown Thomas, Dublin PORTFOLIO, RHA Gallery, Dublin Gallery 43, Éigse, Carlow Light Fantastic, The Malthouse Design Centre, Dublin Designs to Live With, Dun Laoghaire, Dublin Celebration of Craftsmanship & Design, Cheltenham, UK Start, Clarence House, London, UK The Irish Craft Garden, Bloom in the Park, Dublin Blooming Art, Kilgraney House Gallery, Carlow Interior Design & Art Fair, RDS, Dublin Showcase of European Interior Design (European Gateway Programme), Tokyo, Japan The Family Silver, Éigse, Carlow Interior Design and Art Fair, RDS, Dublin 100% Design, London, UK Interior Design and Art Fair, RDS, Dublin Ecology, Mythology, Technology, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin

Gallery Representation — Oliver Sears Gallery, Dublin — Voltz Clarke Gallery, New York, USA

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Stephen O’Briain Furniture

STEPHEN O’BRIAIN FURNITURE

Stephen O’Briain Tomduff, Borris, Co. Carlow obriainfurniture.com E. info@obriainfurniture.com T. +353 87 270 7674 Collections and Commissions Borris Library, Co. Carlow Bank of Ireland Dublin Chamber of Commerce DIT Library Embassy of Ireland, Tel Aviv McCann Fitzgerald Solicitors Sligo County Council Government Buildings, Merrion Square, Dublin — Numerous private collections nationally and internationally

— — — — — — — —

Stephen O’Briain’s furniture is distinguished by hand-planed curves, Recent Awards simplified lines and meticulously 2010 RDS National Crafts Competition: First Prize detailed joints. His instinct is to find a Furniture; Award of Excellence balance between the function of a piece (Reserve) Prize; Crafts Council of Ireland Purchase and its sculptural form, where every line, Award shape and aspect is considered with Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS the aim of creating a singular statement.

2019 Surface Matters, Dublin Castle; Artesania Catalunya → Working almost exclusively in solid CCAM, Barcelona, Spain and National Design & Craft timber, both native and imported, Gallery, Kilkenny 2017 Narratives in Making, O’Briain’s work has taken on an National Design & Craft Gallery, Kilkenny and Ruthin increasingly organic quality. → The basic Craft Centre, Ruthin, Wales 2015 PORTFOLIO @ Solomon: form of Walnut Desk was built up from Furniture, Solomon Fine Art, Dublin multiple layers of blocks using stack 2014 FORM, Borris House, Carlow lamination techniques. This rough form was then shaped using a selection of tools: pull planes, spoke shaves, and scrapers. → I was particularly interested in creating a balance between form, line and space. The top of the desk flows seamlessly into the neck which in turn develops into the base. → Stephen trained as a fine art painter before discovering the possibilities of furniture design. The transition from paint to wood was made all the easier by a tradition of woodworking in the family that stretches back three generations. He works mainly to commission from his workshop in Co. Carlow.

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2010

2009 2008 2005 2011

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Walnut Desk (detail) French walnut, 1700 × 800 × 750cm Photographer, Roland Paschhoff

109

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Spiral Staircase brown oak, steel, 390 × 300 × 160cm Photographer, Richard Kingston

RDS Craft Awards Exhibition, RDS, Dublin PORTFOLIO, Kenny Gallery, Galway; National Craft Gallery, Kilkenny Object, National Craft Gallery, Kilkenny SOFA, Chicago, USA Éigse Craft, Carlow Create, Fota House, Co. Cork Woods @ Work, The Centre for Creative Practices, Wicklow (also 2010)

Stevan Hartung Furniture

STEVAN HARTUNG FURNITURE

Stevan Hartung Coillbheag, Kylebeg, Blessington, Co. Wicklow stevanhartungfurniture.com E. mail@stevanhartungfurniture.com T. +353 (0)45 867023

— — — —

—

Collections and Commissions Department of Foreign Affairs, Vietnam Office of Public Works, Ireland Dublin City University Holy Island Centre for Peace and Reconciliation, Firth of Clyde, Scotland National Library of Ireland Samye Ling Tibetan Buddhist Monastery, Eskdalemuir, Scotland National Museum of Scotland, Edinburgh, Scotland Numerous private collections nationally and internationally

— In my work, the wood used for a piece — is in itself an integral part of the design; — the beauty of pattern and proportion can be found in many places, both natural Recent Awards 2009 Winner, Golden Fleece Award and crafted. The figure, colour, texture or Recent/Current Exhibitions even the refractive qualities of the wood GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin all play a part in determining how the Castle; Artesania Catalunya CCAM, Barcelona, Spain and design progresses and how the final National Design & Craft Gallery, Kilkenny piece will appear. The infinite patterns 2009 Cream of Irish Design: RDS Art and Interiors Show, produced by nature then become the RDS, Dublin Organic Geometry, inspiration for the creation of a piece, National Craft Gallery, Kilkenny the beauty of this process being that the 2008 Image of Longing, National Craft Gallery, Kilkenny more you look, the more you see, so the PORTFOLIO, Bluecoat Display Centre, Liverpool, UK possibilities for creating patterns are endless. → How the material is worked also affects the feel of the final piece.

The use of hand tools allows for a more intuitive way of working with wood; edges can be shaped with subtlety and finishes applied sparingly. → Having recently returned to work after spending a period of four years in a closed meditation retreat, the training in mindfulness and awareness continues to inform my professional practice. By developing a deeper sense of engagement, a more intuitive way of working is cultivated. → Stevan graduated with a Bachelor of Design (Honours) from the National College of Art & Design, Dublin in 1991. He works from his studio in Co. Wicklow.

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2006 2005

↑

Rosewood Wardrobe Santos rosewood and ripple sycamore 190 × 86 × 53cm Photographer, Roland Paschhoff

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You’ll Never Walk Alone, National Craft Gallery, Kilkenny Interior Design Show, RDS, Dublin Create, Fota House, Fota, Cork

Úna Burke Leather

ÚNA BURKE LEATHER

Úna Burke unaburke.com E. info@unaburke.com +44 78 30650382 Collections and Commissions — Simone Handbag Museum, Seoul, South Korea — Commission for private art collection of Philip Lim, New York, USA — Daphne Guinness, London, UK — Lady Gaga, Los Angeles, USA — Madonna’s dancers, USA Recent Awards

2014 Recipient, Leathersellers’ Úna Burke creates wearable leather Exhibition Grant Recipient, Centre for objects that are visually captivating and Fashion Enterprise Pioneer Programme Mentoring Award technically challenging. Her abstract 2013 RDS National Crafts Competition: First Prize pieces resist categorisation by Leatherworking Category Shortlisted, Jerwood Makers conventional standards. Indefinable Open Finalist, Cockpit Arts / as specific garments, they are body Leathersellers’ Award 2012 RDS National accessories to be interpreted freely by Crafts Competition: Finalist Leatherworking Category the individual wearer. Her other work Finalist, Design & Crafts Council of Ireland Future includes sculptural belts, corsets, Makers Award Finalist, Golden Fleece Award jewellery and handbags. → Some of 2011 Winner, Designer of the Year, Irish Fashion Burke’s key inspirations include Innovation Awards RDS National Crafts psychological theory and military Competition: First Prize Leatherworking sources. She uses vegetable-tanned Category; Purchase Award Winner, Design & Crafts bovine leather and brass fittings, Council of Ireland Design & Crafts Council of bringing together traditional leatherworking techniques and contemporary aesthetics. Through the production of evocative and conceptual pieces, Burke aims to promote an appreciation for the crossdisciplinary possibilities of leather craftsmanship. → Úna is originally from Co. Roscommon. She completed a BA in Fashion Design at Limerick School of Art and Design in 2003 and went on to achieve an MA in Fashion Artefact from Cordwainers College at the London College of Fashion in 2007. She has been invited to tutor and lecture in numerous third level institutions throughout Ireland and the UK. She works from her studio in South London, UK.

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2010

2009

Ireland International Fair Fund Finalist, WGSN Global Fashion Awards, Breakthrough Designer Category Finalist, Ireland’s Most Influential in Fashion Awards, Designer of the Year A Shaded View on Fashion Film 4 - Finalist RDS National Crafts Competition: First Prize Leatherworking Category Winner, Design & Crafts Council of Ireland Future Makers Award Winner, Institute of Designers in Ireland, Fashion Designer of the Year Finalist, Golden Fleece Award Winner, London College of Fashion, Off Catwalk Award for Design Winner, Design & Crafts Council of Ireland Future Makers Awards, Student Award Finalist, ITS #8 International Fashion Competition, Accessories Design Category Finalist, 176 Zabludowicz Collection Future Map Prize, Finalist, Institute of Designers in Ireland, Graduate Designer of the Year

Recent/Current Exhibitions SOLO EXHIBITIONS 2015 Artisan Leather, The Scottish Gallery, Edinburgh, Scotland 2011 Úna Burke, The Hospital Club, London, UK

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Lace Halter (detail) vegetable-tanned calfskin, solid brass fittings coated with gold, brass screws 40 × 30 × 20cm Photographer, Roland Paschhoff

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GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 Fashion: A Second Skin, Dubai Art Week, The cARTel, Dubai, UAE A Second Skin, Sorbonne University, Abu Dhabi, UAE 2015 Side by Side, National Design &Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France Playing with Tradition, Dublin Castle, Dublin

Design & Crafts Council of Ireland

2014

2014, 2013

Fetishism, TRAPHOLT, Kolding, Denmark Vous avez dit bizarre?, Biennale International Design Saint-Etienne, France Fashion & Morality-Fashion, Beauty, and the Traces of Time, Lentos Art Museum, Austria Weathering, TENT London, London Design Festival, UK KFW2014, Kerry Fashion Week Catwalk Show, Killarney ARC Fashion Event, Catwalk Show, RDS, Dublin Virgin Atlantic 19th International Fashion Lunch Catwalk show, Dublin Prosthetics, SHOWcabinet Exhibition, SHOWstudio Gallery, London, UK MoBA 13 - Fetishism in Fashion, International Fashion Festival, Arnhem, The Netherlands RIAN, Contemporary Irish Fashion, Embassy of Ireland & Canary Wharf, London, UK Collaborative Art and Performance Installation, The Hospital Club, London, UK Costume: Future Fashion, Kilkenny Arts Festival, Kilkenny Locked In/Locked Out, New Living Art Exhibition, Irish Museum of Contemporary Art, Dublin RIAN, Contemporary Irish Jewellery, Barbara Stanley Gallery, London, UK IDEATE, National Craft Gallery, Kilkenny, The Look of Style Awards 2013, Manila, Philippines

Zelouf & Bell Furniture

ZELOUF & BELL FURNITURE

Zelouf & Bell Zelouf & Bell Furniture Makers Glasshouse, Vicarstown, County Laois E. studio@zeloufandbell.com T. +353 87 230 5386 Collections and Commissions National Museum of Ireland Guinness Hopstore Office of Public Works, Ireland Department of Foreign Affairs and Trade, Ireland — Restaurant Patrick Guilbaud, Dublin — — — —

Recent Awards Zelouf & Bell and their team of master 2015 IFDA New York Best in Show: Decorative Accessories, craftsmen have been making museumArchitectural Digest Home Design Show quality furniture to commission since ADORNO Magazine Best in Show: Overall Craftsmanship, 1992. They strive to achieve a distinct Architectural Digest Home Design Show new modernism in each piece they 2005 Create, John Makepeace Furniture Oscar, shortlist create. → We designed our Jaguar and 2004 Laois National Enterprise Award RDS National Crafts the Crow Cocktail Cabinet as a wistful Competition nod to another, more glamorous life, the Recent/Current Exhibitions SOLO EXHIBITIONS one in which we’d be attending the kinds 2013 21st Century Classics, Centre Culturel Irandais, of parties Jay Gatsby threw — dazzling, Paris, France 2012 Retrospect, The Motor House swanky affairs. We invented a tale in Gallery at Farmleigh, Irish State Guesthouse, Phoenix which a Jouve inspired marquetry jaguar Park, Dublin 2007 Back to Black, Smoketree (in highly figured mahogany, black Building, Twentynine Palms, California, USA bolivar and mother of pearl) is watched over by a crow perched on a burr walnut branch, asymmetrically wrapped around one side of the Makassar ebony cabinet. The cabinet’s handles are concealed in the burr branch; a chrome-plated solid brass plinth elevates it. → There’s an element of danger to a good cocktail and any decent party; the ritual of mixing cocktails is imbued with a sense of possibility, blurring the sharpness of daily life. The cabinet interior is lined with the dreamier dull side of a stainless steel panel, rather than a sharp mirrored surface, the reflections in it rendered hazy, ghostly. We ‘tattooed’ the interior of the Makassar doors with Absinthe bottles, a liquor with a dangerous history experiencing a Renaissance. The Makassar ebony interior features a charcoal shagreen bar-top above a drawer which opens by touch, concealing a shagreen tray. → Zelouf & Bell are based in Co. Laois and have a showroom in Dublin.

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Torii Bar black bolivar, red birch, white figured anegre, grey ripple sycamore, yellow and celadon tay, gold leaf, cast bronze bamboo, brass, shagreen, celadon leather Torii top: 163cm length Cabinet: 100 × 50 × 158cm Photographer, Roland Paschhoff

↑↑

Stella’d Cocktail Cabinet fumed figured eucalyptus, ripple sycamore, wenge, ivory shagreen, lambskin, 860 × 450 × 165cm Photographer, Roland Paschhoff

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GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 TEFAF New York, featured works with Maison Gerard, New York, USA Decorex International, London, UK The Salon Art + Design, respresented by Maison Gerard, New York, USA 2017 Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales Architectural Digest Design Show, New York, USA Collective Design, respresented by Maison Gerard, New York, USA The Salon Art + Design, respresented by Maison Gerard, New York, USA House, RDS, Dublin Decorex International, London, UK Royal Ulster Academy Annual Exhibition, Ulster Museum, Belfast 2016 Decorex International, London, UK Solomon Fine Art, Dublin Architectural Digest Design Show, New York, USA MADE 2016, CDC, Belfast Design Ireland, Maison et Objet, Paris, France 2015 Solomon Fine Art at the and 2016 Irish Antiques Dealers Fair, RDS, Dublin 2015 Playing with Tradition, Dublin Castle, Dublin PORTFOLIO @ Solomon: Furniture, Solomon Fine Art, Dublin Side by Side, National Craft Gallery, Kilkenny; The Scottish Gallery, Edinburgh, Scotland; Centre Culturel Irlandais, Paris, France Architectural Digest Design Show, New York, USA Scenes d’Interieur, Maison et Objet, Paris, France 2014 ICFF, with Bespoke Global, New York, USA Irish Art in Cambridge, Gonville & Caius College Library, Cambridge, UK Paris Deign Week, Galerie Joseph, Paris, France 49th Irish Antiques Dealers Fair, Dublin

Design & Crafts Council of Ireland

2013

2013 —2014 2012

2011

2010

2009 2008

2007

PORTFOLIO, RHA Gallery, Dublin After & Since, Newtownbarry House, Co. Wexford 48th Irish Antiques Dealers Fair, Dublin Waterland, Waterways Ireland Visitors Centre, Dublin Galerie David Hicks, Paris, France 21st Century Design Classics, Irish Antique Dealers Fair, Dublin Philadelphia Museum of Art Craft Show, Philadelphia USA Reconstructed Rooms, National Museum of Ireland COMMEMORATE, SPACEcraft, Belfast International Contemporary Furniture Fair, New York, USA Interiors, RDS, Dublin Philadelphia Invitational Furniture Show, Philadelphia, USA Architectural Digest MADE, New York, USA Interiors, RDS, Dublin 100% Design, London, UK Architectural Digest Home Design Show, MADE, New York, USA Philadelphia Invitational Furniture Show, Philadelphia, USA Interiors, RDS, Dublin Exquisite, Cork Interiors, RDS, Dublin Celebration of Craftsmanship, Cheltenham, UK Luxury, K Club, Kildare Bespoke, Cheltenham, UK Celebration of Craftsmanship, Cheltenham, UK Bespoke, Worshipful Company of Furniture Makers, London, UK Exquisite, Dublin Bespoke, Cheltenham, UK

Gallery Representation — Maison Gerard, New York, USA — David Hicks, Paris, France

About Us The Design & Crafts Council of Ireland (DCCoI) is the national agency for the commercial development of Irish designers and makers, stimulating innovation, championing design thinking and informing Government policy.

Our vision is that Ireland is recognised and valued for its culture of design and craft. DCCoI’s activities are funded by the Department of Jobs, Enterprise and Innovation via Enterprise Ireland. DCCoI currently has 62 member organisations and over 2,500 registered clients. www.dccoi.ie Design & Crafts Council of Ireland Castle Yard, Kilkenny, Ireland T. +353 (0) 56 776 1804 F. +353 (0) 56 776 3754 www.dccoi.ie Brian McGee Market Development Director E. brian@dccoi.ie / T. (056) 7796145 Ciara Garvey Development Manager, Collector & Tourism Programmes E. ciara@dccoi.ie / T. (056) 7796137 Technicians for Selection Process: John Whelan and Steve Aylin

Colophon Editor: Ciara Garvey Editorial Team: Susan Brindley, Deirdre O’Reilly, Brian McGee, Liam Mannix Publication Design: Atelier TypoGraphic Design (Oran Day and Tito Long) Photography: Roland Paschhoff, Andrew Bradley, Sylvain Deleu, Phillip Gates (courtesy of Peter Petrou Gallery), Richard Kingston, Damien Maddock, Ciarán McGill, Michael McLaughlin, Rory Moore, Muiris Moynihan, Glenn Norwood, Janice O’Connell (at f22 Photography), David Pauley Printing: Print Media Services, Dublin Binding: Printglaze, Dublin ISBN: 978-1-906691-67-7 All images and captions reproduced in this book have been supplIed by the selected makers. While every effort has been made to ensure accuracy, DCCoI does not under any circumstances accept responsibility for errors, omissions and/or inferior digital files/sources. © Copyright the authors, makers, photographers and publishers. All rights reserved. Under no circumstances can any part of this book be reproduced, in any way, without the prior permission of the copyright owners.

ISBN: 978-1-906691-67-7

www.dccoi.ie/portfolio