Oxmarket Contemporary St Andrews Court, off East Street, Chichester West Sussex, PO19 1HY 11-23 November 2025
by Nikkan Woodhouse
Welcome to Tales in the Making, the Society of Designer Craftsmen’s latest exhibition of craft excellence I was recently thumbing (with silicone gloved care) through the Society’s archives, now housed in the V&A’s spectacular new London Storehouse building, and noted the foreword to the 1928 catalogue which said:
“The skilled handicrafts give the clue to an escape from several of the difficulties which the whole world is encountering There is need for a healthy educated public interest in the crafts – an intelligent interest, which will make people criticise what they buy with a new insight so that each purchase will set men to work creatively”
How pertinent those words seem nearly 100 years on There are certainly still difficulties the world is facing, and certainly a need for an intelligent interest in crafts Understanding the objects we use and admire in our world is critical in so many ways. Essential for understanding materials (where they come from and where they end up) which is the key to sustainable living Essential to maintaining our connection with our primary tool, the hand, as we venture into the world of AI and all things virtual Essential to understanding and engaging in the maker’s journey, to adding depth and context and, critically, a relationship t the objects around us
Two of the Society’s trustees have taken time to share their insights into Tales in the Making for this catalogue. Margaret Jones (FSDC) has written about how she translates narrative into tapestry, and Naomi Jacques (MSDC) has considered the broader narrative behind all craft making The Society has been a long-time pioneer in championing this interest in craft, continually exploring and reinventing materials to produce thoughtful, beautifully made, aspirational, and sustainable work We hope you enjoy engaging with Tales in the Making as much as we enjoyed producing it and will join us in nurturing the next generation of makers, designers, innovators, creative minds, and changemakers
The Society of Designer Craftsmen, one of the UK’s largest and most prestigious craft organisations, takes great pleasure in welcoming you to its latest exhibition For over 140 years, the Society has supported contemporary makers through major exhibitions, events and creative networks Its membership includes makers who have shaped the direction of craft design and thinking in Britain Today, more than 40 of its talented members are showcased in this exhibition, representing a rich variety of disciplines and approaches. For more information about the Society or to join or support us, see our website here
Designer Craft – Tales in the Making is an invitation to step into the creative world of the makers themselves Every piece on display carries a tale: a remembered place, a spark of inspiration, an influence passed down, a material chosen for its particular voice, or the intricacies of process that shape the final form The Society warmly thanks everyone who has helped bring this exhibition to life This support keeps the spirit of making alive, ensuring that craft continues to inspire, thrive and be shared with future generations All works are for sale Enquiries should be made to Oxmarket Contemporary on 01243 779103 or email admin@oxmarket org
The Exhibition Team: We are very fortunate in having an excellent team with an impressive range of skills behind this show. Grateful thanks are due to Sam English, Denise Jaques, Sharon Kearley, Pat Tempest, Ali Tomlin, Kas Williams along with Hazel Connors and the many others who give their time and energy to support the show We are delighted to return once again to the beautiful Oxmarket Contemporary and our thanks go to Jo Shapiro, Cath Bryant and all gallery staff and volunteers for their welcome and assistance
Our Sponsors and Prize-givers: We gratefully acknowledge the continuing support of the Gane Trust at the Tales in the Making exhibition. The Gane Trust gives an Annual Award for Excellence to an exhibiting member of the Society Created in 1954 by Crofton Gane, the Gane Trust supports individuals engaged in arts, crafts, design, social care and welfare Find out more about the Gane Trust here.
The Society is also delighted to acknowledge the Modern Art Distillery (M.A.D.) who are kindly supporting our private view event and also presenting a Creative Spirit Award M A D create premium craft distilled spirits showcasing artists in a unique way They combine a love of gin with a love of art, by using artwork images on their bottle labels.. Find out more here.
We also very happy to acknowledge Handmade in Britain who are presenting a Sustainable Practice Award to one of our exhibitors Handmade in Britain supports exceptional craft practitioners from across the British Isles with bespoke shows in London and Oxford as well as a curated online marketplace. See more here.
Jan Beaney
Vivienne Beaumont
Anita Bell
Isabel Bermudez
Nettie Birch
Linda Connelly
Libby Daniels
Sheila de Rosa
Angela Dewar
Samantha English
Sean Evelegh
Ferri Farahmandi
Leah Faulks
Christina Feltham
Julie Harper
Ellie Hipkin
Kayley Holderness
Ali Holloway
Naomi Jacques
Denise Jaques
Christine Johnson
Sharon Kearley
Sue Lancaster
Bridget Lane
Jean Littlejohn
Christine Meyer-Eaglestone
Alexandra Motiu
Caitlin Murphy
Ceramics
Ferri Farahmandi
Ali Tomlin
Libby Daniels
Kayley Holderness
Christina Feltham
Bridget Tennent
Feltmaking
Mandy Nash
Furniture & Boxes
Christine Meyer-Eaglestone
Sean Evelegh
Ellis James Stacey
Glassmaking & Stained Glass
Cathryn Shilling
Naomi Jacques
Jewellery
Christine Johnson
Michele White
Linda Connelly
Metalwork
Leah Faulks
Caitlin Murphy
Samantha English
Nettie Birch
Mixed Media
Batool Showghi
Kas Williams
Isabel Bermudez
Mosaic
Denise Jaques
Paper & Artist Books
Jessica Palmer
Printmaking
Sheila de Rosa
Alexandra Motiu
Silver & Goldmithing
Alex O’Connor
Mandy Nash
Carol Naylor
Alex O’Connor
Jessica Palmer
Emma Rosa
Ellis James Stacey
Jennifer Shellard
Cathryn Shilling
Batool Showghi
Patricia Spero
Bridget Tennent
Ali Tomlin
Michele White
Kas Williams
Stitched & Constructed Textiles
Jan Beaney
Vivienne Beaumont
Anita Bell
Angela Dewar
Ellie Hipkin
Julie Harper
Jean Littlejohn
Sue Lancaster
Carol Naylor
Emma Rosa
Wood Carving & Turning
Patricia Spero
Woven Textiles
Ali Holloway
Sharon Kearley
Bridget Lane
Jennifer Shellard
Naomi Jacques MSDC
In the world of design and crafts, every piece is more than a mere object It is a vessel full of stories, a testament to the journey of creation.
Tales in the Making, curated by the Society of Designer Craftsmen’s exhibitions team, invites you to embark on a journey of exploration through a diverse selection of contemporary art works made by our members; works which embody both the craft processes and the conceptual tales that influence their creators.
As you explore the exhibition, you will be drawn into the intricate dance of creativity, uncovering along the way the heart, soul, and skills of each exhibitor.
The pieces on display reveal not only the meticulous processes involved in their creation but also the deeper meanings and narratives that inform them Look and you will find delicate handturned vessels echoing the rhythms of nature alongside bold, sculptural forms that challenge conventional boundaries. A juxtaposition of materials - wood, metal, glass, ceramic, and fabriccreate a tactile dialogue, inviting you to consider how each medium shapes a piece’s narrative
The pieces pose the questions: What does it mean to create? How does an artisan’s personal history and cultural context influence the way they work, technique-wise and inspirationally? How do the artists capture a moment in time that reflects their own journey while also connecting to a viewer’s own experiences?
Tales in the Making is not just an exhibition; it is an invitation to witness the alchemy of creation Immerse yourself in this collection and you may discover the threads that connect us all through the beauty of craftsmanship and the universal narratives that shape our world.
by Margaret Jones FSDC
Hand woven tapestries embody complex storylines intertwined with threads of culture, history, and imagination Each thread symbolizes the tales inherited from previous generations, representing the principles, culture, and life blood of a community.
Narratives and mythology play integral roles in humanities existence, serving as vehicles for sharing wisdom, moral teachings, and reinforcing a community’s collective identity The significance of these tales cannot be over emphasised as historically they offered a framework for comprehending the world and our role in it.
In Europe, from the 14th century tapestries were utilised to tell such tales, to educate and inform the illiterate masses But it did not end there, a medium that possibly started as a way of teaching and illustrating myth, morality tales and bible stories became a powerful instrument for propaganda Having tapestries woven showed that the owner was an extremely rich and powerful person. That person was usually a man, although Bess of Hardwick was an exceptional wealthy woman and bought many series of tapestries for her home at Hardwick Hall.
Henry VIII owned a lot of tapestries, it is said around 2450 of them, and he used these to promote himself as a great man. He owned the ‘Story of Abraham’ tapestries and it easy to see why he felt this story related closely to his own Abraham was the founder of the Hebrew nation and first of their great rulers, he was a role model most suitable for the King as Henry sought to establish the new Church of England centred around his own Tudor dynasty These tapestries would accompany Henry around the country when he embarked on his annual ‘progress’ Just seeing these items in the King’s quarters and hung on buildings as he passed would remind all and sundry exactly how powerful and rich he was
In the 21st Century tapestries still tell tales of life and record important events Unless you see the huge machine-made tapestries of Grayson Perry, tapestry today rarely works on such an epic scale, generally due to time and cost restraints. Modern tapestry, like modern art has moved away from the pictorial narrative more into the abstract but still tells tales and asks questions
Jan trained as a painter, although stitched textiles has been her practice for many years and in 1997 formed Double Trouble Enterprises (with Jean Littlejohn) to print books and make videos to promote observation, design and all aspects of textile practice.
Her personal work is always based on acute observations and sketches, aiming to capture fleeting moments in a constantly evolving landscape. Drawing and keeping sketchbooks are fundamental to her practice
‘For many years, I have chosen to work in themes, allowing myself the time to explore them deeply and uncover unexpected colours, shapes, and textures that bring each subject to life Returning to a theme again and again offers fresh perspectives and new discoveries, creating space to both emphasise and celebrate what draws me in. One place I return to often is Burgh Island and Bigbury Over the years, I have revisited this landscape through my work, but recently I have seen it with renewed eyes, compelled to express not only its beauty but also my enduring love for it.’
Vivienne is a textile artist specialising in machine embroidery Her soulful work is figurative and the narrative of her textile imagery uses symbolism within the context of fairy tale and myth
The ephemerality and cyclical nature of life is at the core of Vivienne’s practice. Her imagery references the mythological, nature, female archetypes and the theme of female transformation. Archetypal theory uses the goddess to denote the cyclical nature of female life. Vivienne uses machine embroidery and print to tell this personal and universal story through symbol and thread
‘My textile art explores both personal and universal stories through mythology, symbolism, and archetypal imagery.
I am drawn to the myths and fairy tales that endure across generations, suggesting they carry truths that speak to us on a deeper level. I explore the rich interplay between symbolic imagery and emotional responses Carl Jung described this as the 'collective unconscious,' where archetypal symbols hold the power to bypass words and spark immediate recognition’
Anita creates one off pieces using a variety of painted papers which are embellished with stitch. Her paperworks are one-off pieces, created using papers painted with watercolour or dye, which are torn, layered and embellished with stitch The technique evolved from a study of frescoes and wall paintings, trying to capture the effects of the natural pigments, faded imagery and peeling paint
Inspired by skies, particularly at dawn and dusk, her work is about capturing a moment in time, depicting the essence of something that is caught in an instant, yet in reality remains elusive and ever-changing
The ‘Trousseau for Persephone’draws on the myth of Persephone to reflect on femininity, fragility and the cycles of nature It imagines fragments from her wardrobe - garments for marriage, for loss, and for her life in the Underworld.
Persephone is stolen from the Earth, leaving behind only torn remnants of her dress Her mother Demeter is consumed by grief, and her sorrow brings famine until a compromise is struck Persephone bound by the six pomegranate seeds she has eaten must divide her time between the Earth and the Underworld – six months in each Each spring she returns more fragile, wrapped in comfrey - long associated with healing and protection in folklore
Isabel Bermudez is a Colombian-born poet and textile artist working large, handembroidered pieces on silk or barkcloth.
She has been practising her craft for six years Her work is hand-sewn on silk or bark cloth. She is inspired by what she sees around her (often the Kent countryside near her home, but also urban scenes) and by memories of her native Colombia For her, the haptic element of embroidery is crucial. Most interested in line and colour, Isabel chooses needle and thread to best meet a need to recreate the world around her or her interpretation of it
The Farm Hand Embroidery, 70 x 55cm, £685
‘This embroidery ‘The Farm’ recalls La Carolina, my mother's farm in Colombia – one of the emotional landscapes of my childhood. 'The Cherry Orchard', a poem from my first pamphlet Extranjeros (Flarestack Poets, 2015), recalls that place
The red and white of this textile piece echoes the traditional colours of Antioquian farmhouses, yet through the region's complex and painful history, those hues now carry associations of violence and loss.
After returning from work in documentary television in Colombia, I settled on the edges of London, near the Darent Valley. There, early Spring inspired my second piece ‘Spring in the Darent Valley’ a celebration of renewal’
Nettie Birch's company nbNg makes jewellery, raised vessels & sculptural pieces using aluminium, copper & sterling silver. Her jewellery centres on the technique of fold-forming, folding sheet metal & compressing & stretching it by hammering Nettie’s raised work seeks to connect the skill of silversmithing with contemporary materials such as aluminium & copper to give these “ordinary” metals a more “extraordinary” presence
‘’Black Pout Vessels’ were my first large scale hand raised pieces I was keen to use first principles, raising entirely from a disk simply using hammers and stakes, without adding any additional metal, for example bases The elegant, Japanese inspired forms show off the Liver of Sulphur patination, usually used to ‘antique’ silver, but here giving a beautiful soft bronze finish, due to the orange base tone of the copper.
The ‘Large Scale Indigo Vessel Group’ are the largest pieces I have created to date, challenging both my skills and the size of equipment I currently have The patination used on these vessels is created from common or garden home chemicals which can however vary greatly in the shades and textures produced - that is the beauty and excitement in the use of the technique Each result is different and unique and the deliberate choice to make at such large scale allows the infinite variation to play out on each piece’
Linda is an enamel artist and jeweller inspired by memories and stories Her work is vibrantly coloured to bring joy to the wearer, with a smooth and tactile surface and moments of mindfulness to their day Linda uses traditional skills of hand engraving, cloisonné and champlevé to create colourful, richly detailed pieces which are beautifully made and finely finished. Her specialty is cloisonné, and she has won multiple awards in the Goldsmiths’ Craftsmanship & Design Awards
‘Our lives are shaped by moments of time and place, each one holding the power to bring us back to lift our spirits and to remind us of beauty When I visit a place that feels special, I gather its essence - photographs to capture the atmosphere, sketches to preserve form, and notes of colours and wildlife to record its character
These impressions become the foundation of my jewellery Through hand engraving, enamelling, and cloisonné, I translate memory into form Each piece is refined with care, polished to a smooth, tactile finish, carrying within it the quiet presence of place.’
Libby Daniels has been a full-time ceramicist since 2020, working from her studio in Haslemere on the Surrey, West Sussex border.
She makes functional and decorative thrown and hand-built stoneware vessels –these are very much influenced in their forms and abstract surface patterns by the pebbles found on the Sussex coast, as well as plants and nature found in the countryside around her home
‘The three vessel forms exhibited are a collection of pieces which are related but unique in themselves much like no two stones chosen from the beach would be the same The Sussex coast is a strong inspiration for my work Sea-worn flint pebbles with their surprising colours and abstract patterns give rise to freely formed pots Using a variety of techniques, pieces are thrown and altered then coils are added, and rims shaped. I am imagining each pebble as a hollow object rather than a solid form. The layers of hand painted thin underglazes in blue, grey and orange echo the abstract markings, colours and patterns which I find on the surfaces ’
Unknowable Bodies - Labiae (detail). Eco prints, pierced, curled and painted to reveal abstract Monoprints and slit insert Fifteen prints, 19cm dia each £2625 or £175 each print
Sheila is an experimental printmaker who uses a variety of materials and print processes. Building from this diversity of materials, Sheila creates visually seductive artworks which combine techniques.
Her work sits within theoretical concepts that drive her enquiries and often takes a critical view of social, political and cultural issues She is motivated by the evidential ironies of photography and the technical complexities of printmaking
Unknowable Bodies - Ecologae (detail). Eco prints, pierced, curled and painted to reveal photogravure etchings Six prints, 34cm dia each £2100 or £350 each print
‘My practice grows from the ironies of photography and the layered complexities of printmaking. I weave these elements together through varied materials, processes, and techniques Alongside teaching Printmaking and working as a Resident Artist, I value how creativity can build dialogue, nurture community, and shift perceptions of art
During the isolation of the pandemic, I found myself captivated by nature’s quiet indifference to human struggle From this came wild inks and Eco Prints, where paper presses tightly against plants, seeds, and leaves, heat and water coaxing out pigment and texture My Unknowable Bodies combine this process with monoprinting and photogravure.’
Angela Dewar is a professional textile artist and teacher, specialising in the creation of embroideries Her wide ranging work includes wall hangings, pictures, vestments and soft furnishings for churches e.g Truro Cathedral, St Margarets Church, Westminister; and other public buildings, including the University of Kent and Central Hall Westminister.
Residences include K E C and the National Trust She is the author and co-author of five books about embroidery.
‘I am a professional artist specialising in embroidered textiles My work ranges from intimate pieces to large commissions, including wall hangings, Church vestments, art quilts, and greetings cards. I also lead workshops for adults and children with organisations such as the National Trust
I combine traditional and contemporary techniques in my practice, celebrating craftsmanship, creativity, and the ability of textiles to engage and inspire those who experience them.’
Samantha explores the notion of memory through metal work, using the vessel form and wall mounted pieces She works in precious and non-precious metals, etching, plating, applying patina and colouration.
Returning to education in 2017 Samantha gained an MA with distinction at UCA Farnham for her work 'The Fragility of Memory ~ A Collection of Memory Vessels' .
‘These pieces are part of an ongoing exploration into the fragility and preciousness of memory, how it corrodes, lingers, and glimmers in unexpected places. Inspired by childhood hours spent in my father's workshop, I carry with me a deep-rooted comfort in the process of making His hands, shaping silver and refurbishing motorbikes left an imprint on what he made, and that echoes in the marks I etch.
Working with both precious and non-precious metals, I fuse traditional techniques like etching and patination with a rule-breaking, intuitive approach, what he fondly called "brute force and ignorance " Each form becomes a landscape of emotion and time: fractured, layered, and a place for the viewer to hold and contemplate their own memories’
Sean Evelegh is a furniture designer and maker, based in Sevenoaks, Kent. His passion for creating beautiful wooden furniture embraces the whole process, from milling up the tree, to applying the final coat of finish, allowing him to create contemporary pieces that highlight the natural beauty of wood. Sean is detail oriented and devotes as much time to the unseen parts of the piece as to the seen, ensuring his furniture can be cherished for generations to come.
‘We have been making bespoke pieces of fine furniture in our workshop in the beautiful Kent countryside since 2020 Our journey is one of creativity and precision, resulting in furniture that serves in function and is also a work of art in itself. We combine excellence in traditional woodworking skills, with innovative design and technology, allowing us to create pieces that are elegant and timeless
Our approach to commissioned furniture is a highly personalised one We work closely with clients to ensure their vision is realised and they get a piece that is beautiful and will last them for generations’
Cermicist Ferri was born and brought up in the southern region of Iran, where art is an integral and important part of the culture, and so has always played a big part in her life
Ferri uses two different techniques to create her sculpture The first involves drawing and shaping the form on a thick block of clay and when hard, carving out the extra clay to achieve the required thickness and form. In the other she uses a press mould technique
‘I explore the expressive potential of female form, and I'm deeply inspired by nature and human resilience; my work explores the beauty found within moments of change and transformation
My sculptures attempt to balance elegant forms with textured or smooth surfaces, symbolizing both internal growth and external influences
I invite the viewer to reflect on their own boundaries and the strength found in embracing life's continuous evolution.’
Sgian
Leah Faulks is a maker reimagining Scottish heritage crafts for a modern audience, combining traditional and modern techniques to create contemporary Sgian Dubhs and Quaichs
She brings handcrafting skills such as silversmithing and woodwork into collaboration with digital practices such as 3D printing and CNC milling, creating beautiful outcomes.
After graduating from Dundee University with a first class honours degree in Jewellery and Metal Design in 2024, Leah set up her business Faulks Metal. She now crafts Sgian Dubhs and Quaichs in her Glasgow workshop
‘The traditional Scottish crafts of quaichs and sgian dubhs making are amongst many now considered endangered Safeguarding these crafts is hugely important and their continued innovation and evolution is the surest way to keep their heritage alive.
I create reimagined sgian dubhs and quaichs that bring together modern Scottishness and traditional heritage crafts They are made to be tactile and playful, decorated with loose, ‘tartanish’ patterns that reimagine the traditional tartan grid and act as a contemporary Scottish motif that modernises the decoration of the objects.’
Christina is a mixed-media ceramic artist with a strong connection to the coast.
Sculptural in form, her work is inspired by the North Cornwall coastline Exploring the relationship between both form and finish, her handbuilt pieces are barrel fired with foraged materials such as seaweed and driftwood. The raw finish is reminiscent of the mineral rich landscape, her signature touch of copper detail inspired by Cornwall’s heritage.
‘Simple forms. Smokey shadows. A glint of colour. Industrial ceramic pieces inspired by the stacked formations of the North Cornish coastline Standing tall Precariously balanced Showing strength beside fragility Each piece explores the relationship between form and finish. The rugged shapes exposed by the erosion of the Atlantic Ocean; the raw colour palette echoing the mineral rich landscape
Each ceramic vessel is fired using the traditional method of barrel firing Pieces are carefully loaded into the barrel with locally foraged combustibles including driftwood and their inherent iron nails; seaweed and cuttle fish bone. The vessels are then polished with a local beeswax to enhance the natural colour and shine Finished with a glint of copper detailing, linking back to Cornwall’s rich mining heritage ’
Julie has a lifelong passion for cloth and stitch. Her textile practice has gained a deep understanding of the qualities inherent to a wide range of materials
Topical issues greatly influence Julie's current textile practice, especially the ‘ greenissues’ of landfill and concerns over the use of plastics Hand craft skills have always been at the heart of her work and she now finds herself revisiting traditional techniques such as hand stitch, felting, weaving and printing
Edo Ladies Series 1 - Cushions (No 1,2 &3) Digitally printed 100% Polyester soft velveteen with 100% cotton backing. 42 x 42 x 12cm. £60 each
‘Inspired by the woodblock prints of Utagawa Hiroshige (1797 - 1858), the Edo Ladies Series explores how the carved marks of woodblocks can be translated into stitch. Hiroshige was considered to be the last great master of ukiyo-e, a genre of Japanese artwork that flourished during the Edo Period (1603 - 1868), which literally translates as ‘pictures of the floating world’.
Moving forward from the quite traditional embroideries of Edo Ladies Series No.1, I began to explore the upscaling and stylisation of my designs The result being a more contemporary artwork which still pays homage to Hiroshige’
Ellie is a textile artist working from her garden studio in Brighton Surrounded by the South Downs, Sussex coastline and wild plants discovered on walks, she draws inspiration from colours, contours and the ever-changing atmosphere of the natural world Ellie's artworks reflect this connection, blending abstract painting with delicate textile techniques to create pieces that evoke a sense of place and season.
‘My work begins with walking in nature, looking upward through trees where branches trace silhouettes against the shifting colours of sky and landscape The slow turning of the canopy, the softening of mist on the horizon, the tint of light through the seasons – all catch my attention I sketch, photograph, and let these impressions rest until they are ready to grow In the studio, colour sets the atmosphere, while free-motion embroidery shapes the branches and hand stitches breathe movement. Each piece becomes a whispered tale of weather, sky, and the quiet act of looking up’
London-based ceramic artist, Kayley Holderness, creates thrown and coiled forms with textured clays and engobe decoration
Kayley’s sculptural clay forms are created using various techniques - throwing, coiling and sometimes a combination of more than one skill She enjoys juxtaposing contrasting shapes: for example including smooth, rounded forms with sharp edges. Currently, she is fascinated in exploring the surface of pieces by introducing pattern through texture or colour or possibly a combination of the two
‘I have never been one to make work around a narrative. Though my artwork must be an expression of something, I have never thought of myself as a storyteller The title of the show prompted me to think deeply about how I wanted to approach this new work. My own plot twist in recent years has been our family of two becoming a three These three sculptures informed one another as coil upon coil they grew Sometimes they did so in harmony, at other moments with confusion and disagreement. As one curve moved out, another moved in until they felt right The pieces now complement each other in a variety of configurations whilst also being able to stand independently’
London Stone (detail) Woven and stitched with plant dyed linen, cotton, paper and horsehair yarn 152 x 38cm £800
Ali Holloway makes one-off hand woven textile pieces which explore the relationship between landscape and the body Following a degree in art history, her varied career included stints working for a theatrical costumier, for a textile restorer, for an art centre as well as in publishing. She went on to study textiles at Central Saint Martins In 2000 Ali set up her weave studio from which she now creates works for exhibition and commission; and from which she also runs weaving workshops.
‘As a continuation of my London walks I explored the city’s distant past in the mysterious monuments linked to ancient Britons and translated them into woven pieces that tell stories These are sites wrapped in folklore, where myth and history blur Boudicca isn’t actually buried on Hampstead Heath, the origins of the London Stone are shrouded in mystery and the earthworks in Finsbury Park remain unverified so perhaps are mere speculation. I have shaped work from these stones and mounds using natural fibres dyed with woad, madder and other indigenous plants - fragments of legend woven into shared memory ’
Naomi Jacques is a contemporary glass artist/maker who works from her own studio in Staffordshire. Conceptually inspired and process led, Naomi makes unique works often creating a series of pieces that challenge the medium of glass through the kiln-forming process
The sculptures, which seem impossibly fragile, are strong enough to support themselves. Naomi’s work has been described as looking like diamonds, crystals, and ice.
‘My fused glass contemporary artwork embodies the cyclical nature of life, illustrating how fragility and strength coexist. Each piece, reminiscent of crystal formations and diamonds, transforms broken shards of specialist art glass into stunning, cohesive forms. This aesthetic reflects growth and resilience, highlighting the beauty found in imperfection and the lessons learned through continuous experiences ’
Warp + Weft: Gold + Black Distressed gold coloured glass, hand made black, ceramic threads set in to a bespoke, rusted steel frame 60cm dia £1800
Denise Jaques is an award winning artist, based in Surrey. She makes contemporary shimmering mosaic art for the home and garden. Often working to commission, Denise creates site specific pieces for exhibitions, private clients, as well as commercial artwork for both interior and exterior spaces.
Her work has a strong sense of colour, pattern and rhythm and plays with the idea of distorted reflections. She explores scale and dimension by working on a range of projects from large scale pieces of public art and sculpture to small private commissions and fine art pieces for galleries.
‘TheWarp + Weftcollection explores the relationship between woven structures and contemporary mosaics Inspired by the transformation of fibre into cloth, I translated this process into ceramic and glass. I form the warp from delicate, hand-crafted ceramic threads, while the weft shimmers with distressed gold and gilded glass, creating shifting, distorted reflections Each mosaic is made slowly and deliberately, using traditional techniques of hand cutting, shaping, and placing. Hundreds - often thousands – of tesserae come together to build the final surface, echoing the rhythm of weaving while offering a tactile, luminous reimagining of textile structures through the language of mosaic.’
Christine is a contemporary jewellery artist, exhibiting in the UK and overseas. Based on the Isle of Wight and in Surrey, she is a director of the Association for Contemporary Jewellery, and a member of a number of jewellery and craft organisations. She has recently founded a new jewellery school in Farnham, teaching jewellery skills and offering workshops at all levels of ability
Christine has a particular interest in optical illusion and in kinetic pieces which enable the wearer to control their visual effect
‘My jewellery pieces are constructed and made individually by hand using the techniques of piercing, soldering, engraving and hand-finishing. They are not cast or laser-cut or made by machine
Much of my work is based on the lines and spines in feathers and feather-like forms found in nature, the repetitive patterns and lines of which intrigue me When I look at these forms, I visually re-arrange them to create three-dimensional objects which become abstract sculptural versions of the originals.
Optical illusion and visual effects are integral to my jewellery. To this end, I like to use line repetition and the interplay of light, line and space within each piece This is apparent when the viewer changes position in relation to a piece, or when the piece itself is kinetic and makes use of movement within itself to showcase optical illusory effects. The kinetic pieces depend on internal mechanisms which allow the wearer to control visual effects at will and invite the owner of the piece to connect and play with its inherent optical effects, creating a tactile, reassuring feeling of familiarity’
Sharon Kearley is a textile artist making mixed media artworks and sculptural objects for contemporary spaces
Sharon is very much driven by the making process and happily sits at the intersection of textiles disciplines. Grounded in a playful and innovative approach to weaving, Sharon creates refined artworks for installation and exhibition, drawing upon ephemeral, spatial qualities and strong narratives
‘This series reflects on presence through absence, tracing the delicate bonds that connect us to loved ones – physical, emotional, and ephemeral ties to people, places, and time It speaks of life’s fragility and our transient time on earth and strong family bonds.
It celebrates what we have shared, recognising in loss that grief carries with it a soft, warm light in the stories that we tell to keep presence alive - not in form, but in memory. These pieces are about love, warmth and pride in those we have embraced whose presence lingers still.’
Sue Lancaster is well-known as a textile artist working in machine embroidery but each new piece starts well in advance of the production in stitch. All of Sue’s work begins with observational drawing and painting on paper in order to research her chosen subject
Her pieces are usually worked in free-machine drawing but often incorporate other textile processes too The surfaces she creates can result in wall hung decorative panels as well as functional items such as bags. All works are completely designed and made by Sue in her Stitched Up and Fleeced Studio in Sheffield Works are for sale or by commission.
‘I’m interested not only in how I look at the landscape, but in how I move through ithow walking shapes what I see and feel.
From my home, I step out toward the moors of the Peak District, leaving Sheffield behind to follow fields and farmland, old drovers’ paths, and small woodlands, until the land opens into wild moor with the gritstone cliffs of the Derbyshire Edges and endless horizons. Along the way, I notice traces of history, shifting waterways, animals, and the changing colours of bracken, heather, and gardens My work grows from these encounters - moments gathered and shared.’
Bridget is a weaver of contemporary tapestries Her pieces are handwoven in the Gobelin technique, the same method that has been used to make tapestries for centuries
Her work is a response to the seemingly mundane, a recognisable view, an everyday occurrence Influenced by late Modernism and using a reduced colour pallet, she is continually exploring how visually simple forms can be enhanced with divergent colour tones
‘I create my handwoven tapestries using traditional techniques that have remained largely unchanged for centuries.
Influenced by the forms and styles of late Modernism, my work explores landscapes and wild places, both physical and spiritual Through a deconstructed view, I strip away extraneous details to convey the essential elements, of colour, line and form
Whether reflecting on the familiar calls of garden birds (Morning Chorus), wild and expansive landscapes (The Leat), or the inner terrain of the mind (Mind the Gap), each piece invites the viewer into a quiet journey of exploration – through shape, shadow, and tone’
Jean has been a lecturer and teacher of stitched textiles for many years whilst also exhibiting her work widely as a member of the SDC and the 62 Group.
Along with her friend and textile artist Jan Beaney, she founded Double Trouble to promote textiles and design and together they have published numerous books as well as DVDs The writing of books and teaching present the constant challenge of exploring new ways of working and problem-solving and have proved to be one of the most exhilarating parts of her practice
‘I often work in themes, giving myself time to explore them in depth.
In recent years, the moon has become a constant source of inspiration for me - a presence that is at once timeless, universal, and deeply personal. I find myself drawn to the myths and legends that surround it, as well as to the many ways it has been written about in literature One of my works,Silver Apples of the Moon, takes its title from W B Yeats’s poemThe Song of Wandering Aengus. For me, the moon is both a celestial body and a vessel of imagination’
Christine creates wall-based artworks and functional pieces of art with a marquetry surface She has developed her own method of creating designs using wood veneers, recognizing the space that marquetry could occupy as a contemporary visual medium
Her pieces often play with spatial illusion and can also evolve in the cutting process while she is intuitively choosing from a multitude of conventional, dyed and ‘reconstructed’ wood veneers.
‘Vital considerations in my marquetry designs are balance and rhythm By manipulating line, edge and colour and juxtaposing hard-edged geometry with organic pattern I aim to convey either a sense of tension or one of order and calm inviting contemplation, as in this diptych
Hand-cutting the veneers allows me to let each composition evolve while intuitively choosing from multiple ‘palettes’ of conventional as well as dyed and ‘reconstructed’ wood veneers – ‘painting in wood’. Structure is central to my designs as it is to music and architectural design which often inspire my work along with early 20th century art & design.’
Alexandra Motiu is a printmaker and illustrator with a fine art background. She works with original printmaking techniques – mainly relief, linocut and wood engraving but also has experience in etching, metal engraving & monotype
Her work has surreal qualities along with a touch of humour, as can give an ‘old masters' feel. She aims to make hauntingly beautiful work the echoes of which can stay with the viewer for a long time. Enjoying busy compositions with complex stories which she builds in layers like a collage, her works are often rooted in myth and folklore.
‘What do we really dream of, and why? My figures live in imagined landscapes filled with symbols, pieced together from hand-carved linocut fragments The process feels like uncovering hidden truths - instinctive choices that slowly reveal
In‘Arienne Dreams of Power’, the figure is surrounded by strong female forms, women she both admires and fears. ‘Jade Dreams of Change’ draws on myth and nature to explore transformation, while ‘She Gets Lost Easily’reflects the pull of distraction and hidden demons Together these works question how our longings are shaped, by ourselves or by others.’
Crinkle Cuboid. Metal sculpture - folded brass attached to a stainless steel frame. 15 x 4 x 5cm. £450
Caitlin Murphy is an award winning Northern Irish maker. Her work is centred around high levels of accuracy and precision, drawing inspiration from geometry, mathematics and optical illusions.
She graduated from the Glasgow School of Art in 2022 with first class honours, and continued her education, partaking in Bishopsland Educational Trust postgraduate programme for two years where she became a 'Bishopsland Fellow' This was supported by a Queen Elizabeth Scholarship Trust Emerging Maker Scholarship and by the South Square Trust In 2024 she was awarded the SDC prize for 'Outstanding Innovation in Craft & Design' at the Handmade in Chelsea show
F(Illusion) Metal Painting - woven anodised niobium attached to stainless steel frame 17 x 15 x 2 5cm £1850
‘My F(X) collection explores the elegance of mathematics through form, function, and material. Each piece is shaped by a different mathematical idea - one inspired by illusion and pattern, the other by angles and error While mathematics is often seen as rigid or abstract, I find it a rich source of creativity, opening endless pathways for experimentation.
I think of my work as “metal paintings,” where woven structures form the canvas and steel creates the frame Through anodising niobium in shades of blue, I unify the collection, bringing together precision and imagination in pieces that are both structural and poetic.’
Mandy is a professional textile and jewellery designer maker. She set up her studio in 1983, directly after leaving the Royal College of Art Feltmaking combines her passions for colour, pattern and process and wool is a natural, sustainable and versatile material that can be transformed into tactile objects
Mandy’s work is created using colour and pattern to create a mood, and the magic of transforming a flat material into a three-dimensional form
‘My work is a subconscious entwining of observations from my travels and the world around me, endeavouring to evoke an emotional response whether directly or indirectly, using colour and pattern to create a mood. Inspired by a recent trip to India I incorporated the vivid colours and patterns that bombarded me there, to capture and treasure the memory of a wonderful journey Cutting the felt reveals the hidden colours inside, and with different ways of cutting, I can change and manipulate it as I work, revealing a kaleidoscope of colour’
Carol is a textile artist specialising in machine embroidery, creating unique one-off pieces These range from small intimate framed works to large scale hangings Her work has been represented in many group and solo exhibitions and she has taught and exhibited in the UK and abroad. Her work has been commissioned and collected by galleries, as well as public, corporate and private clients
She stitches intensively onto painter’s canvas, or similar, using a variety of rayon, cotton, woollen, and metallic threads, building line upon line of colour and texture, looking at the changes in light and shade, mixing colours as a painter would. Each piece evolves as she works, and cannot be replicated
Stitched & Constructed Textiles
‘ I look up with wonder and amazement at the change in the seasons.
Spectacular winter skies are rich in contrasting tones, telling us all what to expect, perhaps rain, or stormy weather As spring arrives, the darker hues become gentler and less ominous Bands of gold and softer lues merge into the summer, bringing the promise of better weather. I see richer golds, amber, red sunsets, and quiet evenings. These skies herald the arrival of autumn with its mellow tones, and poetic reference
Every sky has its own tale to tell – it never tells the same story.’
embodies both elegance and utility.
Alex came to silversmithing and jewellery from a background in sculpture, and this foundation continues to inform her practice. Her work merges an inherent understanding of form, composition, and balance with the specific disciplines of contemporary craft, resulting in pieces that are both sculptural and functional The creative process begins with walking and being present in the landscape. Immersed in its rhythms, patterns, and light, she translates these sensory experiences into silverware and 'wearable sculptures'.
‘The ‘Solace’ tumblers came about during lockdown. The intention was to make a piece that felt soothing in the hand and could hold a favourite spirit Many of my works involve angles and edges but these cups are pleasingly round with a meticulous chased texture, redolent of the granite boulders and sparse sand of a tiny cove in West Cornwall, a place of stillness and retreat ’
Jessica's art centres on experimenting with cut paper in collage, painting and mixed media withijn both real and imaginary landscapes She has developed her expertise over 18 years of practice, making large paper cut designs for exhibitions in both the UK and USA as well ‘life-story’ projects for clients, Paper objects in 3D involving the manipulation of her material in a variety of ways are also a signature for her; as are artist book preparations for exhibitions.
She is the author of The Art of Papercutting (Search Press 2015).
‘I am an environmental artist making with a narrative on the devastating impact of human activity on nature. I combine paper cutting, collage, painting and mixed media techniques to depict imagined landscapes My aim is to take you into the parts of nature the human eye skims over - the understory where tiny worlds thrive, the hidden haunts of wild birds, the secret oases of nature in cities, the incidental urban gardens, the explosion of a seed-burst Some of my work focuses on wetlands where water meets sky, evoking the mood, atmosphere, weather, flora and fauna of marshes and wild places ‘
Emma Rosa is a multi-disciplinary textile artist creating botanical sculptures from manipulated fabric and thread Capturing the essence of a plant with intricate observational detailing she utilises machine embroidery with traditional Japanese flower making techniques, creating sensitive and intricate detailing
Through closely studying flora, she aims to capture the essence of a plant or a particular stage of its growth such as the fleeting moments of efflorescence and senescence. Seeking out lesser-known species and native wild plants while focusing on distinctive botanical elements, allow her to pursue a unique sculptural presence
‘Catkins, the flowers of the hazel tree, are steeped in superstition and omen Often being the first trees to blossom they are a portent of Spring. In rural areas the hearthplace would be adorned with catkin boughs to create a good omen for lambing time, hence their other name –Lamb’s Tails I wanted to convey the stillness of the flowering hazel with this sculpture, the way the catkins hang silently when Winter is still in our grip but Spring is on the verge of wakening. The twisted branches that form the base are a reminder of the barrenness of winter ‘
Ellis James Stacey is a designer-maker based in Oxford With a focus on tactile sculptural forms, he handcrafts pieces of furniture, sculpture and wooden objects from sustainably sourced materials
Ellis aims to make impactful narrative-driven pieces which impose themselves visually and with appealing tactility into the interior landscape
Bench Asymmetrical bench English ash & sweet chestnut Hand carved patterns and walnut inlay 1100 x 460 x 770 mm £2850
‘My practice blends traditional craftmanship with the aesthetics of geometric abstraction and reflects a love of nature, history, mythology and folklore I find inspiration in the preindustrial past and embrace asymmetry, rugged biomorphic forms and irregular touchable textures
Favouring the intentional calm of hand tools over machinery, pieces evolve organically as tool marks consciously combine with the natural warmth, colour and patination of the timber Through the introduction of colour and playful subversive details, I create expressive narrative-driven pieces which delight both hand and eye. ’
A committed artist and weaver with an MA in constructed textiles from the Royal College of Art, Jennifer has been practicing her weaving for a quarter of a century. Prior to that she studied silversmithing and jewellery and also had a full time career in higher education, most latterly on a part-time basis at the London College of Fashion as well as the University of Creative Arts Farnham Now based in her South London studio, she is a long-time member of Contemporary Applied Arts, and regularly shows work featuring distinctive silk accessories.
‘My inspiration for colour and pattern comes from numerous sources including the natural and man-made world and music. Patterns and rhythms are everywhere; I observe, record and process them through drawing, painting, photography and collage As designs evolve, I solve the technical challenges of weaving on my 24-shaft loom
I aim to create drama and contrast, particularly when designing a fashion accessory so yarn wraps let me explore the interaction of colours for maximum impact. I work mainly in silk and, more recently, bamboo Both are distinctly tactile and have ability to reflect intense colour Each piece is made as a ‘ one off’ heirloom, crafted to be treasured for a lifetime.’
Cathryn Shilling is an internationally renowned glass artist, living and working in London. After graduating in Graphic Design in London, Cathryn worked as a designer until a short time in the USA prompted her to pursue a new and exciting career Her years in graphic design allowed her to develop skills in a wide range of creative processes and products, and enabled a natural and spontaneous move into glass For her, kiln formed glass has proved to be the perfect medium, allowing for creative and technical freedom and enabling her to produce works that are tactile, intriguing and enduring.
‘ In the winter of 2002 whilst living in America, I experienced a meteorological phenomenon known as an Ice Storm During this type of storm, also known as a Silver Storm, falling supercooled droplets of rain become ice once in contact with exposed surfaces. This body of work is inspired by the thick accumulation of ice known as glazing on exposed tree branches after such a storm’
A Visual Reflection on Displacement Archival paper with textile and stitching 21 x 15 x 2cm, when opened 116 x 21cm £500
Born in Iran, Batool is a multidisciplinary artist who has a passion for artists’ books Her practice moves between photography, illustration, painting and stitched textile.
Her artworks concern her cultural heritage, memory, identity and loss She seeks to examine the physical limits that women experience in relation to cultural and religious boundaries
‘I am deeply moved by the events that shape our world especially the impact of recent wars and conflicts on the human condition My work is a response to these realities, a way to channel my emotions into creativity and engage with the issues that arise from violence, injustice, and discrimination. My textile and mixed media work explore the emotional and physical upheaval of displacement and bring such tactile intimacy and depth, which pairs perfectly with themes of resilience and renewal’
Patricia has always been fascinated and inspired by the textural hidden depths and colours of wood, aiming to bring out the inner patterns and shapes of the substance and enhance them with her own designs
Designed to be held as well as viewed, her pieces offer a tactile and meditative expression of the wonder of nature and bring a feeling of calm and relaxation She is now combining glass leaves, created from moulds of real leaves, with wooden versions to create new textures and colours
‘The natural world is my canvas – alive with colour, rhythm, and calm. I’m inspired by the peace and wonder found in foliage and plants, where every shade tells its own story
My work seeks to reflect this vibrancy and serenity, capturing nature’s beauty in pieces that echo its quiet harmony.
Leaves have long served as a source of inspiration in art and design, admired for their intricate forms and delicate veins. My designs using turned and carved wood and handmade and fired glass seek to capture not only the visual beauty of natural foliage but the tactile and visual qualities of the different media.’
Born in Cheshire and trained at Farnham whilst working for and learning from Rupert Spira, Bridget now lives and works in Oxfordshire. Making has been a journey of discovery - emotion, physicality, sensuality and freedom all lie at the core of her making.
Each piece is manifest of her internal and external life Ancient and modern are both reflected in her use of tools, processes and materials and lend the final flourish to her work with a time honoured feeling
‘My pieces belie their apparent quietness; these seemingly empty vessels are brim-full with emotion and meaning Giving myself to making, my work is the embodiment of ‘Creative Flow’, marrying hand and heart - the peace this process affords me physically, mentally and emotionally Wonder and joy underpin everything I make’
Ali’s work is a collection of thrown, elegant, porcelain forms which form a canvas for her colourful, painterly and graphic marks She throws and turns the pieces to a fine finish before decorating, preferring to work on the dry, chalky surface. She applies her marks as spontaneously as possible, using stains, oxides and slips, splashing or sponging away areas and inlaying lines, aiming to create pleasingly imperfect and unpredictable marks. She often decorates her pieces on the wheel to create a feeling of movement
‘Each piece I do is different The marks and scribbles vary depending on my mood and how loose my hand feels on the day I can tell afterwards what kind of space I was in – in my head I like the energy of the marks and the way I build it up from putting the first scribble on and gradually compiling the whole ’
Michele’s first he feels has many of the same satisfactions as working in clay but with fewer constraints
Her philosophy is that jewellery should be a mixture of art and craft - inspired by the philosophy of Rene Lalique ‘mixing gemstones of great value with others of great beauty but little value’. Her jewellery has an organic movement, and she uses gemstones, both precious and semiprecious along with gold and silver
‘Anyone who knows my work will know that I have a passion for trees The tree which is my particular favourite is the Ginkgo tree. There are a number of reasons for this.
The tree grows in what I feel is a perfect shape. It makes its way upward into the sky and doesn't bother to reach out sideways It is so different from any other tree, that I can distinguish one even when I am some distance away
This has to be because it is really a prehistoric survivor Ancient fossils have been found worldwide including Scotland. But mostly it is that wonderful leaf !’
Kas is a mixed media artist creating sophisticated pieces for the contemporary art market, working across multiple mediums using a visual vocabulary which crosses all materials. Her background in printing is where she learnt process, chemistry and the science of colour She now uses a mix of materials and methods to innovate and create interesting collaborations. Colour for Kas has a lyrical energy and exuberance that interconnects with pattern and texture. Layering has also become a signature of her work that combines these with a three-dimensional element
‘Colour has always felt like a current of energy to me - vivid, exuberant, impossible to ignore I’m curious about the way materials work together so I find the freedom to re-invent and reassemble very seductive. The floating artworks often begin quietly, with subconscious collections of impressions: patterns caught in passing, textures and marks that leave their trace These fragments percolate over time, shifting and settling until they form a rhythm I can almost see and they feel ready to turn into something more tangible That’s when the piece starts to materialise and take visual shape ’
The Society of Designer Craftsmen is one of the largest multi-disciplinary craft societies in the UK, championing the work of designers and makers who innovate in craft through their exploration of materials and skills.
Founded in 1887 to give voice to and organise exhibitions for craft designers and makers, we continue to advocate for craft practice and support our talented community of over 350 craftspeople
Our national membership is made up of designer makers across various craft disciplines, including ceramics, wood, metal, glass & textiles. We are run by an active and hard-working council, the majority of whom are maker members
From emerging makers to established craft professionals, we welcome individuals who demonstrate excellence and individuality through their craft. Being a member of our active and supportive community offers:
By becoming a Friend of the Society you support our charitable activities and allow us to continue to seek out and support new designer makers. Becoming a Friend of the Society is open to all those with a keen interest in the field of design and fine craftsmanship.
