Socio Economic Impact of Craft Within Farnham & Surrey Hills Aonb

Home , Borough of Waverley, Farnham Maltings, Farnham Pottery, Hascombe, Magdalene Odundo, Surrey Hills AONB

SOCIO ECONOMIC IMPACT OF CRAFT WITHIN FARNHAM & SURREY HILLS AONB SOCIO ECONOMIC IMPACT OF CRAFT WITHIN FARNHAM & SURREY HILLS AONB CONTENTS

4 Executive Summary

8 Forewords

Simon Olding - Crafts Study Centre Ali Clarke - Surrey Hills Arts Iain Lynch - Town Clerk, Farnham Town Council

10 Introduction

12 The National Landscape of Craft

22 Profile of Farnham and the Surrounding Surrey Hills AONB

24 The Economic & Social Impact of Craft in the Area and its Potential

44 Case Study - Dame Magdalene Odundo

48 Conclusions and Recommendations

49 Vision for the Future

3 EXECUTIVE SUMMARY

The craft industry is robust but faces challenges The market for craft in the This study considers the current demic and the Creative Industries driving the average selling price UK has grown dramatically Craft sales: landscape of the Craft industry in Federation referring to it as a ‘cul- down. Online sales have seen a Farnham and the surrounding area tural catastrophe’, makers will be dramatic six-fold increase percent- over recent years and the 2006 - £883m of the Surrey Hills AONB. Using even more in need of support and age wise accounting for 10.3m the extensive current available opportunities to plan their futures. people buying craft via a digital appetite for both buying 2019 - £3bn data from the recently published Likewise, it is a time for the creative channel over the past year. and taking part in craft and Crafts Council’s report, Market for industries to be a force for good Craft, as a national benchmark, and support for the local commu- During this research period craft activities is enjoying a it has been possible to compare nity enabling disadvantaged and Farnham has been announced how Farnham and the Surrey Hills isolated groups to come together, as a World Craft City. This is a massive surge. Online sales of craft: AONB uses Craft to connect with explore their creativity and create pivotal moment in the town’s Craft communities and the economic shared experiences. history. Farnham has some major 2006 2020 health of the area and the ways in craft jewels in its crown but this isations celebrates the role of craft which it can be improved, harness- The market for craft in the UK has research can provide an insight at the heart of Farnham and aims ing the potential of the burgeoning grown dramatically over recent for the members of the Farnham to embed craft into the everyday craft market and interest in craft years and the appetite for both World Craft Town Advisory Board life of the town. The group seeks to experiences nationally. buying and taking part in craft and to enable them to embed craft into encourage new audiences and vis- 5% 33% craft activities is enjoying a mas- the community to both economic itors to Farnham; support a vibrant At this turbulent time when the cre- sive surge. There is a shift in the and social benefit. marketplace of craft-makers and ative industries have been particu- customer profile resulting in more promote the role of craft in improv- larly badly hit by the Covid-19 pan- competition among makers and This informal partnership of organ- ing health and well-being. Craft Council’s The Market for Craft, 2020

4 5 our high streets. Although pre-lockdown beyond those makers. An online resource for collectors and ers interviewed there was some evidence *The Guardian 19 May 2020 ** Crafts Council, Market for Craft - Definition of terms Potential Farnham reportedly was behind the curve dedicated craft signage could reinforce the area’s connec- Potential of collaboration between organisations, but Occasional maker: supplements other income with raft activi- of vacant units compared to national aver- tion with craft or creating easily accessible trails for visitors not necessarily on the scale that would be ty to earn money, through non-commercial platforms Everyday maker: participates in leisure time craft activities age, it is likely that many units will become and buyers. expected for a Craft Town. not intending to earn money through selling Economic Impact vacant during 2020/21. This presents an Social Impact unprecedented opportunity for landlords The World Craft City status provides the impetus to build The findings reveal that there is a strong of commercial units to work with the local Craft Tourism over and above the discipline led audiences Everyday maker or Occasional maker** in the Area community of makers and student commu- attending the Farnham Maltings Craft shows to showcase in the Area market eager to engage in community nity at UCA to offer free or subsidised short the breadth of local makers. This research indicated that activity. Farnham is well served in terms term rentals to makers selling craft prod- there was potential in creating sales via a national and of outstanding craft facilities from both This research also found a community of ucts, offering educational craft experiences international creative audience prepared to travel to seek With UK jobless claims rising by 70% to practical and academic aspects, with the professional makers with portfolio careers or as studios. There is a network of mak- out a seam of makers. 2.1m* in April 2020, this is leading to a University for the Creative Arts Farnham within the creative areas hungry for more ers in the area who are looking for more plethora of social issues including a dra- producing 100 craft graduates each year professional development, regular net- exhibiting and selling opportunities and this matic increase in mental health cases. through to world-renowned makers such working opportunities, support to create could present the opportunity. There will be even more need for activities as Dame Magdalene Odundo. The Crafts sustainable practices and to be integral to to engage communities that can active- Study Centre is a unique asset for the area a cohesive strategy for Craft in the area. ly improve health and wellbeing. As the and the highly active programmes of The In line with national statistics, local mak- Embedding craft more Watts Gallery report identified, one of the Maltings, New Ashgate Gallery and the ers wanted a comprehensive searchable reasons why the Art for All programme had Farnham Potteries complex within a mile database, which they felt would help sales. actively in the town is needed been so impactful was: or so from the centre provides numerous As their customer profile has altered and to raise awareness across all opportunities for these makers. mushroomed it has resulted in a more ‘Focused efforts are made to competitive market for the makers. There social groups where currently There is evidence that Craft Town status is has also been a greater need for makers to understand the characteristics of local currently not being leveraged to have a rip- create and develop a wider range of pro- the awareness is low. communities and what diversity means ple effect in the area other than the centre fessional skills to support and maintain a of Farnham. Through the work that both sustainable practice. As online sales have in the context of this corner of south Surrey Artists’ Open Studios and Surrey The recent announcement of Farnham as increased dramatically, so has the impor- Hills Arts are delivering, they are clearly a World Craft City will provide an obvious east England with very sharp contrasts tance of digital, online marketing and social attracting audiences and engaging makers and attractive hook for a marketing drive to media skills among makers. To create a in financial and educational standards in the process but their work could be part raise the profile of Farnham’s awareness to robust and sustainable market for these of a more strategic scheme to bring people the wider Surrey and surrounding areas. portfolio career makers they must hone right on the doorstep.’ into the Surrey Hills AONB which would

their knowledge of teaching, marketing and rely on more resources to make the areas This research also found evidence of collec- This research indicates that individual or- technology. Through this research project more accessible to low income groups. The tors wanting to support and purchase work ganisations are targeting particular groups it has become apparent that for makers Countryside Restoration Trust’s drive to by local makers. There is currently limited to engage with, but that there is more to to remain and prosper in the region there regenerate Pierrepont Farm is the type of opportunity in the area for the established be done via a cohesive social programme needs to be an easily available network for development that will create a more area collector beyond the resources of the Crafts utilising the Craft heritage and Craft assets them that will enable them to thrive, work wide market. West Horsley Place in the Study Centre or New Ashgate Gallery. of the region as an authentic and highly together and support each other. Surrey Hills is a potential new hub for high Many collectors are going direct to the inclusive attribute. There is little second- quality craft tuition. makers or buying as a result of the visiting The Covid-19 pandemic is having, and will ary data available analysing audiences to markets or the annual Surrey Artists Open continue to have, a devastating effect on disprove that this is indeed currently being Studio, however they are not exploring undertaken. Of the majority of stakehold-

6 7 Ali Clarke Iain Lynch FOREWORDS Surrey Hills Arts Town Clerk, Farnham Town The Surrey Hills and craft go hand in hand. From Council ironworking and stone age pottery, medieval for- Simon Olding est glass production and 18th century basketry Farnham has been very proud of its status as to the clay brick and tile making that define the England’s first craft town. It helps the town to Crafts Study Centre Surrey vernacular. A county considered to have focus on a key and highly distinctive component poor agricultural value in the past, made up for of Farnham’s sense of place connecting both The University for the Creative Arts (UCA) was of the crafts in Farnham, and the adjacent area it by using its natural materials in a creative and traditional and emerging makers. There are, of awarded funds from Research England’s 2019- of the Surrey Hills, will help planners and policy enterprising way. The celebrated Arts and Crafts course, other related civic and cultural assets to 20 QR Strategic Priorities Fund. These enabled makers in the town, district and county councils movement, with many fine examples in Surrey, treasure - our shared history, our outstanding the University to propose projects which would to shape and focus future funding and activity took inspiration from nature using handcrafts- town centre architecture, our wider cultural life, enable a better understanding of the role that from an evidence base; a model for such impact manship and the local materials to create sculp- our great sense of community, and the linking of Higher Education Institutions (HEIs) could play in may also be transferable to local government ture, glass, textiles, architecture and functional town and gown, celebrating the long history in policy development and activity ranged across throughout the UK. It can inform policy at a na- objects. Farnham of the Farnham Arts School and now local and national government as well as nation- tional level, by feeding into research agenda of the University for the Creative Arts. However, al and international institutions, to the benefit of the Crafts Council and Arts Council England; and This report has come at a time when there is we sit in a wider geographical and administra- all parties. UCA commissioned three separate it can support understanding in these related renewed interest in our environment, natural tive framework, and the pioneering work of the projects, including this study of the social and arenas in an international context, through a materials and buying goods that are local, hand- Crafts Study Centre and Surrey Hills Arts in the economic impact of the crafts in Farnham and report to UNESCO and the World Crafts Council. made and sustainable. It also coincides with the research both strengthens our partnership and the Surrey Hills. The special role played by HEIs in this territory huge wave in popularity of learning new skills widens our scope with Farnham a key gateway may also inform other Universities keen to build and bringing craft back into our homes. I see this to the Surrey Hills Area of Outstanding Natural Farnham (the home of the UCA campus) is des- on the evidence base provided by this innovative research as a positive step in helping residents, Beauty. ignated by the local authority, Farnham Town and timely report. A special focus has been paid makers, organisations and funders to gain a bet- Council, as a ‘craft town’, the first such town in on the contribution of work in contemporary ter understanding of craft in Surrey and impor- This very timely report looks to the achievements England. This status recognizes the unusual and ceramics in this study, mindful that Farnham tantly, its possibilities for the future. of the craft town and the Surrey Hills to help us exceptional collective of institutions, makers and is home to many celebrated potters, perhaps build and develop a programme for future years. providers of craft in Farnham, and as a conse- none more so than Professor Dame Magdalene Surrey can be understated about celebrating It also presents us with a challenge to refocus quence of this position, the organisations have Odundo, who combines her internationally re- what we have to be proud about, the skills and and better celebrate the amazing talent on our come together with a special focus of activity in garded ceramic work with her role as Chancellor creativity in our local area can seem hidden, doorstep. The impact of COVID-19 means we October, designated ‘craft month’ to celebrate of the University for the Creative Arts. but with Farnham’s recent recognition of World have to reassess everything in our public lives, in and promote contemporary craft as a vital fea- Craft City status, perhaps we can start to shout order to safeguard the future, whether in culture, ture of the town’s character and history. The Crafts Study Centre has taken the lead a little louder. I see this report as a call for us to health or well-being. The crafts will play a vital on this report, acting in its capacity as the work together to support our makers enabling role in this work and this report is both a bench- No detailed or systematic research on the social University Museum of Modern Crafts, with unri- the area to be a creative hub, where craftspeo- mark to let us know how we may map the way and economic impact of the crafts in Farnham valled collections and archives across a number ple choose to live and set up their studios. We forward for Farnham and the Surrey Hills, and has taken place (although an evaluation of of craft forms (ceramics, textiles, lettering, wood). have the resources, talent and appetite to drive also a foundation stone as we progress within the craft town programme in 2019 touched the recommendations here forward and for the network of World Craft Cities. on this agenda). The Strategic Priorities Fund Farnham and the Surrey Hills to become a place has enabled this new work to be undertaken. to consume, view and participate in craft. Understanding the economic and social impact

8 9 INTRODUCTION Purpose of this research Methodology The aim of this research is to since 1995, now Jerwood Arts, to create and The Crafts Study Centre commissioned this understand the actual and potential run Jerwood Makers Open (JMO), the longest study in January 2020. The primary re- The Crafts Study Centre (CSC) is a specialist running and largest national craft makers’ search with stakeholders and some makers university museum and research centre open free to the social and economic impact of craft initiative. They previously undertook a simi- took place in February 2020. The maker public. The centre’s acclaimed collections include modern lar research project to inform and devise the surveys and further makers’ telephone and contemporary calligraphy, ceramics, textiles, furniture not only in Farnham, but also in current format of Jerwood’s support of Craft interviews were conducted in April-May and wood as well as makers’ diaries, notes and photographs. the surrounding landscape of the within the UK to maximise the impact of their 2020. A proportion of the primary re- Inspiring exhibitions and talks by leading artist-makers are limited funding within this specific discipline of search for this study where face-to-face held year round, alongside an annual academic symposium. Surrey Hills AONB. Applied Arts. Their research and subsequent data was to be taken from the public had CSC is located in a purpose-built space on the Farnham project management for JMO has introduced to be altered because of the UK outbreak campus of the University for the Creative Arts (UCA). UCA is The quantitative research focuses on the impact them to a wide range of makers, galleries, of Covid-19. This quantitative data gath- a specialist university with around 6,000 students offering and its potential within the area using a wider educators, organisations, collectors and press ering was replaced by smaller sample sets. courses in a range of creative subjects across its academic socio economic range of samples. The aim for working within Craft across the UK. They have National trends were identified from cur- schools. UCA was awarded funds from Research England’s this piece of research is to provide vital pieces developed a deep knowledge and understand- rent reports and data relevant to the craft 2019- 20 QR Strategic Priorities Fund to undertake new of evidence for potential funders demonstrating ing of Craft, its economy, the people and its market including the Craft Council’s report, research activity working in partnership with local policy mak- what the likely outcome could be given a level nuances. They believe and champion responsi- Market for Craft published in May 2020. ers. CSC have used this funding to improve the understanding of ambition, appropriate resource and activi- ble funding of the arts, which is the basis of all The availability of qualitative data was lim- of the socio-economic impact of craft in Farnham and the ty whilst demonstrating an understanding of of their projects. They understand the power of ited at times due to government restrictions, surrounding Surrey Hills AONB; how the crafts can be used the criticality of place and existing valued craft the arts to promote wellbeing among com- staff furlough or pressure on organisations to address particular local and regional issues and how their assets both current and in the heritage that the munities and the ability of strategic planning because of Covid-19. This research relies application could be developed. area possesses. The report contains statistics and funding to drive economic growth. Their on information received during in-depth to demonstrate the current economic impact clients include a wide range of trusts and telephone and face-to-face meetings. The The University for the Creative Arts and The Crafts Study and qualitative research to assess potential foundations, local government, publicly funded majority of the interviewees did not want Centre sit on the border of the Surrey Hills AONB and have a levels of activity. organisations, arts council and CSR funding; their comments to be attributable to them close working relationship with Surrey Hills Arts, which is a all of which are committed to and driven by or their organisations and we have kept all partnership with Surrey Arts, Surrey County Council and the The case study focuses on the acclaimed ce- strong socio-economic objectives and out- comments anonymous accordingly. Surrey Hills. Surrey Hills Arts aims to engage and inspire peo- ramicist Dame Magdalene Odundo and high- comes. ple with this outstanding landscape and its unique natural, lights the way in which the Crafts Study Centre cultural and industrial heritage through arts and craft. plays a pivotal role in relation to the understanding of studio ceramics. All these organisations are members of the Farnham World Craft Town steering group. This is an informal partnership of Parker Harris, an arts consultancy based in organisations, which celebrates the role of craft at the heart Surrey and working in the contemporary visual of Farnham and aims to embed craft into the everyday life of arts nationally for over 30 years, has undertak- the town. The group seeks to encourage new audiences and en this research. They have a wealth of expe- visitors to Farnham; support a vibrant marketplace of craft- rience and knowledge of all arts disciplines but makers and promote the role of craft in improving health and one of their areas of expertise is Craft, having well being. worked with the Jerwood Charitable Foundation

10 11 NATIONAL LANDSCAPE OF CRAFT

Profile of the Maker

There is a clear picture of the life of the typical In order to be able to understand the potential maker currently in the UK. According to the Crafts Council report, Market for Craft, the majority of economic impact of Craft in Farnham and the craft makers earn less than the median salary surrounding Surrey Hills AONB area, it needs from selling their work. Just over a third of makers earn a living solely through their work, with a fifth to be contextualised by the National economic using some element of tuition to augment their earnings. However, a fifth also need to take part in landscape of Craft today in the UK. This has non-craft related employment to supplement their income. The UK maker has become much more been the subject of an extensive piece of technology savvy with more than two thirds now research commissioned by the Crafts Council having a website, realising that online and international sales are increasingly important to their in- - Market for Craft in May 2020 and provides come generation portfolio. However, there is a high recognition among artists of the lack of a search- crucial benchmarking statistics and identifies able national database of makers, which they see national trends. Below highlights the relevant as critical for their commercial success. research findings for this report together with additional research findings carried out as part of this project.

12 Craft Sales Price of Objects Profile of the Craft Buyer

The recently published Crafts Council report, The Crafts Council report, Market for Craft, identified that between 2006 and 2020 the number of An estimated 37.7 million people now purchase collector through to Generation Z. Significantly, Market for Craft, recognises a significant craft items sold in the UK has quadrupled. Interestingly the average price per item decreased. The craft across the UK. The recent Crafts Council there has been a 32% increase nationally in the improvement in craft sales between 2006 report indicates the reasoning for this is that the newly identified younger buying audience takes less report, Market for Craft created a new struc- sale of craft to under 35 year olds since 2006 and 2020 – suggesting that in 2020 almost risk with their limited disposable income resulting in a marked increase in lower level priced items ture analysing all aspects of their demographic which makes this the largest section of the three quarters of the UK population are buy- being sold. This trend is also in line with the increase in sales via online platforms such as Etsy and and buying habits/criteria from the professional buying demographic in the UK today. ing craft. The value of craft sales has more Folksy. Etsy has an average selling price per item of just $30. It may also be that competition among than trebled in this time. Generally over this makers has driven prices down as easy comparison can be made online via the algorithm ‘if you like period there has been a massive growth in this you might like that’ showing other makers prices for similar items. the public interest in the origins of the items Proto-collector that they buy, from the authenticity of mate- group Adventurer rials to the intricacies of the making process. 2.4m The appetite for television programmes on group all areas of craft from textiles to ceramics 1.9m to glass blowing is driving millions of view- 6% ers and piquing an interest in buying craft 5% Early and taking part in craft activities. Television mainstream Average Spend/Item of Each Group programmes such as The Repair Shop, The 4.8m Great British Sewing Bee, The Great Pottery £291 Throw Down and in recent times Grayson’s 13% Art Club have encouraged the public to en- £ 113 gage with the handmade both by buying and taking part in practical activities or events. Demographic of £24 These television programmes also promote the Craft Buyer the concept of non-digital activities being 9% £120 beneficial to health and mental wellbeing. Mature Social media has played a considerable role mainstream £149 in enabling the public to ‘buy into’ the lifestyle 26% 3.5m of the maker. Online sales have increased £104 substantially through the identified surge in a 14% younger buying audience through access and £ 117 the attraction of the ease of the connectivity. New entrant 6% group Millennial 10m mainstream 5.4m Data from Craft Council’s The Market Gen Z for Craft, 2020 2.2m

14 15 2016 to 2019 indicates that there has been a BUYING CRAFT Face to Face growth of 35% in dedicated craft fairs in the Experiences UK. The Crafts Council have recognised this growth and provide support for makers to Online Platforms make the most of the Craft Fair potential. The other area of notable growth nationally and participants. A staggering 91% of buy- has been the increase in makers’ income from ers take part in a creative activity in their lei- Buying Direct from Studios delivering craft ‘experiences’ over and above sure time. With more than half of the buying sales of work. These experiences include craft market attending a paid for class, course There is a growing interest in buying directly Online Sales traditional workshops, demonstrations, small or workshops in the last 12 months. This from the maker’s studio allowing the buyer and Craft has gone mainstream and is more visible group or one-to-one studio events. Indeed gives us an indication of their overwhelming maker to build a relationship and for the buyer than ever before. In line with this, the online the emergence of Yodomo enabling makers to interest in the making process and the under- to understand the story behind the object buying of craft has tripled over the last ten years create a sustainable seam of funding through standing of the skills and an appreciation of and its creation. This has led to an increase accounting for almost 18% of sales. Since 2006 offering the additional selling of skill rather the craftsmanship. in Open Studio events, which, although no there are more online platforms available such than product has come at a time when the data exists on the number of open studios as Trouva, made.com and Not On The High appetite for experiences is also on the rise. increasing over the past few years, there is Street. Online sales have also contributed to the There is a direct link between buyers of craft an average rate of a 31% increase of artists rise in international sales for UK makers with participating from a sample set of open studios around half of makers surveyed having sold work nationally from 2017 to 2019. overseas in the last 12 months.

Social Media Art Weeks / Months Across the UK a range of art and craft fo- The extraordinary growth of all social media cussed weeks or months have developed over platforms over the last 10 years now enable an UK consumers still spend the majority of their the last few years, opening up opportunities for immediate connection to makers and objects for money in traditional craft outlets, galleries, makers to show and sell their work directly to buyers and allow audiences direct access to the shops or directly from the makers. This has the public and to create relationships with new makers, the stories behind the objects as well as resulted in more opportunities being organ- audiences. Although no statistics have been the process of making at the click of a button. This ised to meet the makers. It is significant that gathered on a national level, some of the larger has enabled possibilities for makers to share their the identified growing younger audiences are Art Weeks, such as Oxford have over 500 art- stories, create relationships with buyers not only choosing Craft Fairs and Markets for reasons ists and makers taking part with over 100,000 in the UK but overseas and to form collabora- of sustainability and supporting local makers visitors. Organisations like this also offer their tions with other makers. This is an important and driving an appetite for an increase in face-to- membership a yearlong programme of events developing aspect of a maker’s growing portfolio, face sales platforms. These include: and a support network across the county. alongside their web presence and more tradi-

tional selling outlets. This is demonstrated by the statistics identified by the recent Crafts Council’s Craft Fairs, Markets & Craft Galleries / Shops report indicating that a high proportion of makers Festivals From 2014 to 2017 the number of listed Craft sought out specific advice or training on social The rise in craft fairs and markets has brought Shops decreased by over 20%, given ris- media and promotion. Early Career Makers craft to more people face-to-face. There is ing rents, increasing business rates and the showed a particular desire to hone their skills and no existing in-depth research regarding the decline in High Streets nationally, this figure is have support in this area. growth of Craft Fairs in the UK but a simple understandable and in line with other areas of calculation comparing available statistics from artwork sales.

16 17 National Picture of the UK Maker

Across all maker groups, the majority reported a profit of less than £30,000 from selling their 68% of all makers work in the latest financial year www.www. Proportion of Median Salary 2019 makers in 2020 84% 77% £30,350 who had a website of Master of Established Craftspeople Professional Makers

Proportion of the makers surveyed who earn a living Almost two-thirds of makers solely through their work feel that an easily accessible, centralised, sign-posted 64% searchable database would 21% 35% Supplement their income by help buyers and potential buy- teaching craft workshops or ers and craft objects to buy. courses Makers’ Income Proportion of makers who Survey Supplement their income 44% are interested in specific with other freelance work advice or training on social connected to craft 46% media and promotion (44%) 18% and how to use online platform to sell work (46%). Supplement their income 22% via non-craft related employment Data from Craft Council’s The Market for Craft, 2020

18 19 Overall Craft Market Online

31.6m The proportion of internet 20 Between 2006 and 2020 the Across the UK, the number of 49% users shopping online in 20 number of people buying people buying craft is now 2008 2008 was 49% 6.9m craft in England increased 37.7m. 73% of the population from 6.9m to 31.6m people 37.7m ‘06 73% buy craft in 2020 87% In 2018, it had reached 87%

Number of objects sold Value of craft sales 2018 nationally increased between nationally has increased from Online craft pur- 24.7m 2006 and 2020 – from 5.6m >£3bn £883m in 2006 to over £3bn 5% 332k to 24.7m objects in 2019 chases have grown 2006 from 5% of buyers (332k people) in 19% 3.2m 2006 to 19% of Price per object nationally In 2006, 1.1m buyers were 2010 buyers (3.2m peo- has decreased from £157 in under 35, in 2020, 9.1m £124 ple) in 2010 to 33% 2006 to £124 in 2020 <35 buyers under 35 33% 10.3m of buyers (10.3m people) in 2020. In 2006, 18% of professional 91% of craft buyers take part 2020 18% makers had ever sold in craft activity, including 2006 internationally participation in craft courses, classes and workshops, with In 2020 around half 91% Buyers average who (49–53%) of makers had sold more than half (53%) having ~50% 69% would buy online (69%) work overseas in the previous 53% attended a class in the past 12 2020 12 months months

Data from Craft Council’s The Market for Craft, 2020 Data from Craft Council’s The Market for Craft, 2020

20 21 PROFILE OF FARNHAM Farnham Craft Town

AND THE SURROUNDING Considering Farnham is a designated Craft Town, and now a World Craft City, there are few permanent contemporary craft retail outlets to enable easy access to buyers/collectors. SURREY HILLS AONB The collectors interviewed could only recall on average two craft outlets in the area, yet their knowledge of individual makers was extensive and all of those interviewed said that they would support local makers given the opportunity. Moreover there is no searchable database of makers in the area or dedicated website for craft activity in the area. Indeed there isn’t any active year round promotion of Craft in Farnham even though Farnham is a designated Craft Town.

On Farnham Council’s own website it is not easy to find that Farnham is a Craft Town. Taking a small sample audience throughout Farnham there was a less than 20% awareness of the Farnham Craft Town Status diminishing to 0% within half a mile of the centre. Two-thirds of makers felt that an easily accessible, centralised, signposted searchable database would help with sales, with extended search functions including visual tags, to identify objects based on colour or pattern or style without needing to know a maker’s name. From the makers’ point of view they are not able to leverage the reputation, heritage or indeed exceptional craft resources of the area to increase their sales. Over two thirds of makers interviewed said Farnham’s desig- nation as a Craft Town had made little or no impact on their sales.

22 23 HOW PEOPLE BUY New Ashgate Watts Gallery THE ECONOMIC IMPACT “There’s a rich seam of semi- Gallery trading up 29% professional, female, well- £56 average per over the last 5 item sold 5 yrs years educated individual makers, Face to Face OF CRAFT IN THE AREA Proportion of local many of whom are either not 20 CSC Shop Craft galleries and shops 19 makers who sell reliant on their craft activity sales in 2019 95% Farnham and the Surrey Hills and West Street Potters. Sales of 20 uplift of 85% directly from their as their primary income or have a proliferation of perma- craft are increasing year on year 18 on 2018 studios Profile of the Maker nent craft sales outlets including generally in the local area. Yet, of are retired from another Farnham Maltings, New Ashgate those makers surveyed working Gallery, 318 Ceramics, Farnham in Farnham or surrounding Surrey According to regional data, Farnham and income being generated in this way. Three profession.” Pottery, James Hockey Gallery, Hills AONB, two thirds do not sell the wider borough of Waverley has a high- quarters of the surveyed makers also teach and Crafts Study Centre at UCA, their work through any gallery or er than average percentage of makers and or give workshops or demonstrations indi- Hannah Peschar, Watts Gallery shop locally. independent creative industries. Three cating a portfolio career. Although there are quarters of the makers we surveyed who all no reliable statistics to show whether makers work in the area also live in Farnham or the in the area are also employed outside of the Proportion of makers who Pop-ups surrounding Surrey Hills AONB. Our survey craft industry, this may indicate that local live in Farnham & Surrey 75% During Craft Month many lo- nationally as a source of selling covered a wide range of makers in a range of makers are in line with the national profile Hills (AONB) cal shops in the High Street in their work, but for many makers media including; ceramics, jewellery, metal- of makers having a portfolio career made Farnham displayed and sold local it is hard to know how to start. work, wood, glass and textiles. Significantly up of sales, teaching and income generation artists’ work increasing aware- Local councils have also been us- only 20% of the makers in Farnham and the through jobs outside of the craft industry. Female Male ness of Craft Month and the ing Pop-ups as a way to revitalise surrounding area we surveyed were male What also emerged is a trend indicating that makers, and selling their work. In the traditional High Street giving and less than 2% from an ethnic background, many of the makers in the area are not reli- 80% 20% addition, students from UCA took rate-free breaks to landlords and indicating a low diversity throughout the ant on their income from sales. From our one over a shop on the High Street actively encouraging creative making community in the area. The ethnic to one interviews it is perhaps that the desire for an extended period giving the enterprises to take over empty minority background figure at 2% seems very to increase sales is not their primary concern. students the opportunity to show shops. The average High Street low but when compared with the population Many sources of anecdotal evidence support Make their living only from their work, understand how the in the UK has 15.9% of empty where only 2.6% are non-white it seems less the profile of the craft maker in the area. 10% sales of artwork (National craft market works and to create shops, however according to odd. ﬁgure for this is 35%) a direct connection of UCA with Farnham Council, Farnham is sig- the public. This kind of Pop-up nificantly below the UK curve and Only a small percentage of surveyed artists shop is becoming increasingly has only 4% shops unoccupied at in the area make their living totally through Average amount of living important for artists and makers any one time. craft sales, which is a massive difference 43% made from sales from the UK benchmark shown in the Craft Council report. Makers reported a huge Pop up venues are very popular but this range from 5% to 100% of their overall income being derived from sales of their Proportion of artists who pathway is less visible and needs to be more artwork with an average 43% of their overall 79% teach or give workshops clearly defined for makers.

24 25 Studios, festivals and Proportion of local Online Experiences Craft Audiences markets makers who sell 95% directly from their Within the Farnham and Surrey Hills AONB Locally workshops, demonstrations and studio These audience figures are aggregated from From the makers in the area we surveyed, al- studios 80% of those makers surveyed sell work on- experiences are thriving. Almost 80% of the across a number of the key stakeholders in the most all sell from their studios and this contrib- line and on average a quarter of their annual makers we surveyed were involved with teach- area. Although they are not all solely involved uted to more than a third of their total artwork income is generated from artwork sales via ing craft, hosting workshops or studio experi- with craft, there is a general trend in audiences sales each year. Events such as Surrey Artists CRAFT MONTH: an online platform. This is in line with national ences. There is an appetite and an audience increasing across Farnham and the surround- Open Studios are a major driver for direct sell- statistics, which show a growing increase for locally who have both the time and resources ing Surrey Hills. In particular, there is a steady ing by makers with 297 artists/makers taking £175,000 sales online sales of craft to both UK and internation- to take part in these events. Of those makers increase in visitors to the Crafts Study Centre, part and more than 21,500 visitors and an im- al buyers. Interestingly just fewer than 10% of interviewed two thirds delivered some kind Watts Gallery and New Ashgate Gallery. The average per pressive £300,000+ of artwork sales annually. £55 those surveyed that sell online generate 100% of tuition either at their studio or for an art or Surrey Artists Open Studios annual event now item sold of their income from craft sales via this mode of educational organisation and the revenue from attracts over 20,000 visitors each year, spend- selling. Selling directly from makers’ own web- this activity on average was over a quarter of ing over £300,000 supporting art and craft “Selling from the studio is my most sites is the most used method of selling work. their overall income. This can be seen through across the Surrey area buying directly from SAOS: From interviews with makers it was unanimous the large attendance at events, workshops artists and makers. reliable source of income and that they would be interested to take part in any and demonstrations across the area during the £304,000 sales although they buy just one small opportunity to improve their online selling skills. annual Craft Month. 5038 visitors to the CSC in 2019 thing at the beginning, they might Proportion of “Income from giving workshops Male: 602 makers surveyed Female: 1267 come back and buy a major piece. 35,000 visitors to 80% and demonstrations is very who sell work Children: 73 It’s hard work, but it makes me tidy Farnham Maltings online important to us makers. It is also a up the studio!” festival programme UCA: 3096 Nationally, makers need advice or way of making more people aware training on: Additionally, Farnham Maltings hosts a variety of your work too and that often Craft month: 10,762 visitors of craft festivals showcasing a wide range of leads to new studio sales.” 10,762 makers and attracting an additional 35,000 SAOS: 21,500+ paid visitors visitors and buyers to Farnham per year. 297 297 Artists Took part >21,500 Across the UK there has been an increase 44% 46% During Craft Month the educational events of more than 30% in the number of makers have been extremely well patronised with an taking part in local craft markets. Although the Watts Gallery: 38k paid visitors estimated 10,762 visitors attending a combina- 38k in 2019 single discipline led festivals such as Unravel Social media How to use tion of free drop-in sessions, paid for activities, feature world class craft makers, Farnham workshops, talks, events and exhibitions across and online New Ashgate Gallery: 14,950 is behind the trend in terms of cross disci- the area creating new audiences for many of attended in 2019 pline craft fairs and local makers taking part. promotion platforms to the venues involved. 14,950 Evidence suggests nationally that collectors sell work and buyers of craft are open to buying work of Farnham Maltings: 35,000 different mediums. 35k annually

26 27 Price of Objects Summary: Economic Impact of Craft

The available data for the area shows that the This is calculated by looking at the available To encourage makers to set up their practice Given the local heritage and resources, the ability average sale price of an object across the craft re- figures for craft sold in the area, paid for activities within the area and for UCA students to stay once to maximise the potential by facilitating profes- tail outlets in Farnham is less than half of the val- such as events and workshops/courses, student they have graduated there needs to be a vibrant sional development in the area is evident. The ue of craft objects sold nationally. This indicates spend (not including UCA tuition fees), employ- and supportive environment ranging from afford- expertise exists in the area, but there is little that the majority of audiences are not ‘collectors’ ment of local people, visitor spend (not on craft able live/work spaces, opportunities to sell their opportunity for skills development apart from nor do they fit in any other of the identified pen sales). The entire Farnham and Surrey Hills AONB work, networks of makers and buyers and access New Ashgate Gallery Rising Stars and their portraits of craft buyers as identified in the Crafts area has been considered to estimate the current to professional development. This is undoubtedly associated programmes and Surrey Arts training Council, Market for Craft report. This is backed up annual economic impact figure to be in excess of having a direct effect on the retention rates of events. From the makers interviewed over 50% by interviews with makers in the area who report- 50 million pounds. craft study postgraduate students from UCA. had sought advice or training on social media ed that the audiences that they engage with ‘liked and how to use online platforms to sell their work to look but not buy’. It is evident that the potential impact of craft Figures obtained from Waverley Borough Council and 87% of makers said they would welcome given the current growing UK nationwide trends indicate a 4% vacancy rate although it is possible networking and skills exchange to increase their It would seem from the evidence of the visitor sur- within the craft market could be significantly that this figure is a somewhat low estimate. Given potential to show their work. vey at Farnham Craft Month that craft audiences higher for the area. There are key areas that are the current economic situation it is probable that in the area have a unique profile and are predom- undeveloped in the craft scene locally that have the numbers will be increasing. The Shop Trail, inantly made up of those living within a 20-mile emerged through this research. part of 2019 Farnham Craft Month included 26 “There needs to be a vibrant and radius. From a small sample of craft collectors shops generating income for local makers and in- supportive environment ranging living within the area with an in depth knowledge Firstly, serious collectors and the higher value creasing awareness of craft locally. Further afield, of the local internationally known makers more market is an area that could be developed and the example of West Kilbride shows the way in from affordable live/work than half of them have attended a lecture/talk, expanded. There are clearly a few makers in the which the High Street was successfully regener- spaces, opportunities to sell their but have not then proceeded to visit or buy from area selling to serious collectors, but there is little ated through the setting up of a network of retail any of the other local craft outlets. Among them, evidence to suggest that this has translated into craft outlets to drive supply and demand for craft work, networks of makers and awareness of some of the other craft galleries increased craft sales to any other makers. From in the area. There is now a real spirit within West buyers and access to professional was surprisingly low. Less than a quarter of these this research, the collectors are going to specific Kilbride, a real sense of achievement and collabo- were aware of Farnham’s Craft Month or indeed makers but are not then driven to explore any ration which had been lost and a strong sense of development.”

other craft makers in the area. Evidence of this is identity for the area now. of Farnham Craft Town status. in the significantly lower local to national figure for the average price of work sold. “There is a real sense that we have

The success of the craft markets/festivals locally worked together, and it’s not just have created a robust market for certain craft businesses and retailers, young £124 disciplines such as knitting and quilting, attracting £56 large audiences and generating local income from people and families are coming to national and international commuting audienc- work and live here because this a es, but this is currently an audience that has not Average price of Average price of resulted in income to local craft makers. real, vibrant community.” craft items sold craft items sold in Farnham nationally

28 29 THE SOCIAL IMPACT Farnham Craft Town Farnham was designated as England’s Craft Awareness was also extremely low in a random In the 2017 Farnham Neighbourhood Plan, a Town in 2013. It has a rich and long craft heri- sample of people in the area who identify them- consultation document for the future of Farnham, tage including its own local Greenware Pottery. selves as ‘those who are not directly involved or there was no mention of Farnham as a Craft According to regional data Farnham and more have any current interest in craft either as buyers Town. It would appear that its status as a Craft OF CRAFT IN THE AREA broadly Waverley Borough has a higher than or as an activity’, but surprisingly it was also low Town has perhaps not been fully leveraged by the average percentage of craft makers and indepen- also among those who are involved in the cre- Council, although Farnham Town Council led the dent creative industries. Farnham Craft Town is ative arts. The research survey with makers also World Craft Town application of 2020. physically signposted by signs on the outskirts reinforced that the Craft Town status had little of the town and is referred to on both Waverley or no direct impact on their sales. The research Councillor Pat Evans, Mayor of Farnham says: Borough Council and on Farnham Town Council also indicated a strong feeling from a number of websites. It has recently been announced on those interviewed both as practitioners and in “Farnham has a powerful reputation Profile of the Farnham Area Farnham Town Council Website that Farnham arts management positions that there was not has now been granted World Craft City status. enough joined up thinking around the offer of for craft education as well as The judges commented on the “strong sense of Farnham as a Craft Town. nurturing and promoting the careers Farnham and the surrounding Surrey Hills become more ethnically diverse with rising num- community” in Farnham. Their perception was AONB are in an area of 163 sq. miles covering bers of people identifying with minority ethnic of a town full of makers and making at all lev- of some very talented makers. Our one quarter of Surrey and adjoin Kent Downs groups over the last few years. The population els, across all craft forms and in a huge range of fantastic arts and crafts venues to the east and South Downs National Park is largely white British, however there are signif- spaces (many hidden from public view). Those who knew Farnham was a in the South West. Easy access to London by icant Indian, Pakistani and Gypsy/Irish Traveller designated Craft Town not directly have enabled craft to be embedded rail makes this one of the largest commuter communities. This provides a challenge to en- 2% involved in creative arts either as areas outside the M25. In addition, easy ac- sure the needs of these small communities and “World Craft City status will shift into our everyday life. I am thrilled cess to London’s two main airports, the M25 individuals are appropriately met. buyers or as an activity that Farnham has been awarded and a number of outstanding schools has people’s thinking” World Craft City status and for the resulted in Farnham and surrounding Surrey Those who are active in the Hills having some of the highest house pric- Number of 5 - 15 year olds in opportunities this presents for both es outside of London (average house price “I believe if the Craft Town status 15% creative industries as buyers or £550,000). However, according to the 2017 10,600 Surrey with a mental disorder was consistently pushed it would practitioners the visitor economy and the next Surrey Uncovered report commissioned by generation of makers.” the Community Foundation for Surrey, there is drive craft tourism” Those makers who said the evidence of extreme hardship in the area too. Is the greatest rising population 13% Craft Town status had little Obesity, mental health issues, high levels of group in Surrey, and this trend is Through this research project, we have ascer- impact on sales young and over 65 carers and high numbers of tained that currently the awareness of Farnham’s 85+ expected to continue domestic abuse show us a different side of the current Craft Town status is not as high as Those makers that said that area considered by most as affluent. expected and declines the further away from The report, one of a series, shows that depriva- the Town Centre. A survey carried out during 46% Craft Town status has no tion is a huge issue that has deteriorated since the Covid 19 lockdown with walkers from the impact on sales 2013. These disparate profiles of society living Proportion of children in Surrey 10% local area in the Surrey Hills showed almost no side by side have also made funding difficult who live in poverty knowledge of Farnham as a Craft Town. according to the report. In addition, Surrey has

30 31 WHAT IS ON OFFER IN THE AREA University for the Crafts Study Centre Surrey Hills Arts Creative Arts Since moving to Farnham in 2000, the Crafts Surrey Hills Arts is a partnership with Surrey Study Centre has continued to build on its Arts, Surrey County Council and the Surrey Hills The reputation of the University for the internationally renowned collections and AONB. Its remit is to connect people to nature As part of this research project we have looked at the opportunities for participation in Creative Arts with its dedicated Craft & Design archive of modern British craft. It is situated through the arts and give them a deeper un- craft currently available to the different audiences within Farnham and the Surrey Hills. The Department is outstanding and has an excel- within UCA and continues to be a centre for derstanding and enjoyment of this designated research has highlighted some of the better known organisations that work with the local lent reputation both nationally and interna- excellence for the research of craft. Its resourc- landscape. It is committed to engaging new community to provide a range of activities including exhibitions, events, workshops, demon- tionally. The University is situated right in the es and library are used regularly by students audiences, enhancing the profile of the area via strations and studio experiences. The findings show that the vast majority of these activities heart of Farnham with easy access to parking and academics, particularly MA and PHD inclusive arts projects for Surrey communities. are paid for experiences and there are only a few options available for free or subsidised and the town centre. There are approximate- students and are also accessible to the wider They support emerging makers and regularly sessions available to young people, disadvantaged groups or those on low income. ly 2000 students living and working in the craft community. The knowledge base and re- commission temporary and permanent site-spe- area, which has a major impact on Farnham sources of the Crafts Study Centre are unique cific work. The organisation understands economically and also dramatically increases according to, among others interviewed, Dame the potential of the programme to encourage the number of young people living in the area Magdalene Odundo. engagement resulting in more physical outdoor during term time. The dedicated James Hockey activity and actively works with organisations Gallery features students’ work on a rolling As well as loans of its collection to other in- on projects to result in positive health, education basis within the UCA main building and admis- stitutions and exhibitions, CSC also hosts an and social outcomes. M25 sion is free to all. The University has created TADWORTH excellent exhibition, lecture and symposium

LEATHERHEAD some strong links with the local community programme within its gallery spaces. The 3 A FETCHAM and developed opportunities for student en- exhibitions include national and international New Ashgate Gallery BANSTEAD 46 A2 NORBURY WOLDINGHAM gagement through its partnership and sup- HEADLEY artist practitioners and admission is free to all. EAST HORSLEY PARK TITSEY PLACE MICKLEHAM GUILDFORD CATERHAM SWA HATCHLANDS N Y ported activities with New Ashgate Gallery. The New Ashgate Gallery is a well-established ALDERSHOT OW Their lecture programmes attract artists, mak- D WEST N ORTH M25 CLANDON HUMBLE LIMPSFIELD gallery supporting emerging artists and deliver- PARK LIMPSFIELD ers and members of the general public from GATTON CHART CHURCH POLESDEN LACEY BOX HILL PARK NEWLANDS COLLEY GODSTONE In 2019, Unify (the UCA Student Union) took across the area and are often oversubscribed. ing creative learning through talks, community CORNER SILENT HILL POOL ST MARTHAS REIGATE 3 HILL A25 A over a pop-up shop on the High Street in and outreach workshops and free professional DENBIES Looking at the diversity of visitors to CSC the VINEYARD OXTED GOMSHALL REDHILL GREE NSAN ALBURY D WAY Farnham offering students experience in practice seminars. The Gallery is a destination A31 HOGS BACK CHILWORTH SHERE GREENSAND majority are students, followed by a large RIDGE SHALFORD WESTCOTT BETCHWORTH curating exhibitions and giving them hands- female audience. for viewing and buying the best of affordable DORKING 5 ABERDEEN ANGUS FARNHAM TI 2 WONERSH LL A LOSELEY PARK IN WOTTON BROCKHAM REIGATE HEATH M on knowledge of running a gallery as well as contemporary art and craft by established and G WINDMILL GODALMING ABINGER 2 ST. CATHERINES B O 3 ELSTEAD MILL BRAMLEY UR REIGATE NE OLD TOWN HALL selling their artworks. This also enabled local emerging artists and makers. There is a curat- LEITH HILL TOWER R MOLE RIVE PEASLAKE HOLMBURY residents and visitors to Farnham to see the ed programme of up to 25 annual exhibitions A ST. MARY 2 GREENSAND WAY 8

1 SHAMLEY craft that the UCA students make and make a dedicated to champion the best contemporary ELSTEAD MILFORD A TILFORD GREEN 2 THE PEPPERPOT 3 better connection with the University. art and craft in the marketplace and showcas- WAVERLEY FRENSHAM PITCH HILL ABBEY LITTLE POND A FRENSHAM HOLMBURY LEITH HILL 2 THURSLEY 4 WITLEY HILL FORT ing more than 200 artists and makers every FRENSHAM GREAT POND HAMBLEDON HASCOMBE CRANLEIGH year. Through the sale of contemporary art and

R EWHURST CAPEL DEVILS I V There are approximately 2000 PUNCHBOWL E craft, their collectors support makers and their CHURT R

HASCOMBE W Y WATER E E OCKLEY W FOUNTAIN Y R charitable activities: the funds are invested in E & students living and working in the IV R HINDHEAD A R DUNSFOLD U cultivating a passion for arts and crafts through CHIDDINGFOLD N C A area, which has a major impact on GIBBET HILL N exhibition opportunities, professional practice A L Farnham economically. programmes, mentoring and partnership proj-

GRAYSWOOD CHURCH ects. The NAG Trust supports diverse audiences HASLEMERE through a free community programme of gal- 3 A

32 33 lery and outreach workshops, led by local and and invest in this place. They are looking activities for the community including holiday Craft Month regional artists. for something more affordable. It’s difficult clubs for young people, free drop-in craft work- to find studio spaces, there isn’t a sense of shops for the community designed to improve October Craft month is an annual celebration in terms of ethnic minorities, less than 5% of As part of their strategy to help emerging mak- self-esteem and confidence for adults and of craft in Farnham and the surrounding area. visitors to the October Craft Month described ers, they have forged a strong partnership with a bigger network probably because a lot older people as well as regular craft sessions In 2019 it attracted Arts Council England fund- themselves as non-white and this is supported UCA since 2013 in order to help their talented of makers work from their homes” for those wanting to meet new people. ing to carry out an in-depth evaluation report. by figures from other local events and venues. students have an opportunity to flourish, both The evaluation estimated that this month-long Available event and gallery visitor data, reports during and immediately after their degree. The “We recognise the dilemma that makers event attracted 10,762 people through a series that a very high proportion of its visitors are Rising Stars project has been instrumental might be selling at vastly lower prices than of events, workshops, exhibitions and pop-ups female as opposed to a national benchmark, in helping young graduates show their work Farnham Maltings around the town. Craft Month has a significant which is nearer to 50/50. and have access to a high quality professional the national average but would warrant a economic impact on Farnham as well as im- Farnham Maltings is set in a collection of build- development programme. As part of this re- guess that they are hobbyists” proving the perception of Farnham to visitors. ings in the heart of Farnham and hosts a wide “The annual festival has been a great plat- search project several of the makers remarked From a random sample taken throughout range of crafts makers including printers and on the value of the professional development Farnham and the surrounding Surrey Hills form for Craft but it is not all year round… picture framers together with 6 resident theatre “The weekly loneliness group at the Malt- programme to their future practice, howev- AONB less than 15% of people were aware there could be a lot more in marketing on and dance companies who produce and tour ings is thriving…” er several commented that they wished that of October Craft Month. From a sample taken work regionally, nationally and international- an on-going basis. “ there was a greater appetite for buying con- within 20 metres of Craft activities or craft ly. There are also 16 studios, a darkroom and temporary craft in the area. “In participatory work it is a balance retail outlets this number increased to 38%. pottery studio. They are a cross disciplinary However, it is October Craft Month’s own eval- organisation with a strong interest in shaping between trying to raise the quality whilst “The Rising Stars scheme is well accepted uation that supports many of the findings that Female visitors to Craft Farnham as a Centre for Craft, driving the Craft marrying the inclusivity” 85% this research identified as being areas that will as a very valuable opportunity for craft Town status and World Craft Town application. month be of interest to Farnham and the surrounding Craft is a key element of Farnham Maltings makers… such a shame there aren’t more “Craft projects for social groups need AONB when planning future strategy. of these openings… as makers we need and home to a growing number of single to be put into context… one of the most disciplinary Craft Fairs attracting significant more exhibiting opportunities and more White (British or other) National and International audiences of ap- popular exhibits was work made by “There needs to be a Festival Buzz. It 95% buyers to see our work… “ proximately 35,000 annually. These fairs are women from local refuge when you can looked good but I’m not sure how many visitors to Craft month varied in terms of the level of crafts makers on see it through the lens of who these people people knew or noticed that it was part of show, but they are a useful resource for makers “Support is about getting your work who may want to meet their suppliers. are…” a bigger event…” seen… it would be great to see more Visitors from Farnham opportunities… it doesn’t have to be all “As a local maker, I go along if I want to “Subject to funding we target disadvan- “Craft in Farnham needs bling…” 66% and surrounding area year round but look at say broadening it see a particular supplier for yarn or other taged groups to run projects with” “Craft month is great at a certain level, it to be at least a couple of times a year then fabrics” it could be more geared to buying… pre “Farnham and Surrey is stuffed with pre- is inclusive, has activities but pervading it Christmas is always good…” The work that the Farnham Maltings does dominantly women, lifestyle craft business- all is a pastime hobby… it should be down building audiences for more accessible crafts es… a smaller number are making a living to makers to somehow use craft month to provides an audience that may not be of critical out of it…” really put on something special” “New Ashgate is great in supporting craft commercial interest to professional makers, but nonetheless plays an important role within makers but there isn’t a stepping stone for A factor of this is the predominantly weight- Farnham. They host a wide range of craft the graduate maker to think they can stay ed demographic of the area. This is not only

34 35 Farnham Pottery it supported over 180 studios open to the pub- engagement and learning increased signifi- transport is difficult for both visitors and volunteers. lic with 297 artists taking part and 21,500 + cantly over a five-year period from 7,360 in One visitor commented, The Farnham Pottery is one of the finest exam- visitors. It has an online presence but currently 2013 to 31,106 in 2018/19. The report was ples of a Victorian Country Pottery. It is located no e-commerce strand, which they are consid- able to provide evidence of the positive social “I would love to be a volunteer, but it’s just too about a mile and a half outside Farnham town ering as part of their future plans. impact made on individuals lives through the difficult to get here by bus and I don’t like that centre. Today it provides community based Watts Gallery programmes. arts, craft and education at the former industri- “Opening the studio is fantastic for me, it walk…” al site and is home to three craft organisations: The Art for All evaluation report concludes is very well marketed and promoted and I as to how and why the social impact is max- 318 Ceramics feel part of a bigger programme. Giving imised for the Watts Gallery Art for all pro- The Hannah Peschar West Street Potters workshops is great but I would really like gramme including: Sculpture Garden SAOS to run their own events that we Focused efforts are made to understand the Farnham Sculpture characteristics of local communities and what could take part in” diversity means in the context of this corner of Created 35 years ago by Hannah Peschar, the Sculpture Garden sits on the eastern side of the These three organisations offer a wide range “The professional practice support south east England with very sharp contrasts in financial and educational standards right on Surrey Hills AONB. The garden and its annual exhi- of activities for the local and wider community sessions that Surrey Arts run have been bition of 200 sculptures are open to the public from of Farnham and the surrounding area includ- the doorstep. great… “ April to October each year. Their aim is to showing weekday and evening courses and one- case British and European sculptures within the off classes for adults, after school clubs and It also acknowledges that a large amount of this work is made possible but also enhanced unique garden setting. Many of the sculptors work community events. Most of the courses cost Watts Gallery in a range of craft materials including ceramics, approximately £200 and £45 for one-off class- by the extensive use of volunteers. Watts Gallery is clearly aware of the mutual benefits glass and metal. During their opening period, local es. This research found that the demographic Watts Gallery is situated in Compton, Surrey, schools and art groups also use the gardens. The of those attending courses and workshops at to both the organisation and the volunteers founded by George Frederic Watts OM RA and and carefully target their roles to enable the gardens are also used for well-being activities that Farnham Pottery were in line with the other Mary Watts. Watts Gallery – Artists’ Village take advantage of the benefits of art and nature for venues in the area. Both 318 Ceramics and best life experience that they can for the indi- was established to provide Art for All. At the viduals. good mental health. West Street Potters are active participants in heart of its creation was a belief that art could the Farnham Craft Month hosting a range of make a positive contribution to the commu- workshops and free tasters sessions. nity and commitment to help those who may Rural Life Living Museum Creative Response not ordinarily have the possibility to engage Creative Response is an independent, arts relat- “We had 500 people participate in free with art and craft. The current programme is Based in the Surrey Hills in Tilford near ed organisation established and run by profes- workshops but people were prepared to far-reaching and ambitious with a proactive Farnham, the Rural Life Living Museum is a sional practising artists who share their practice outreach programme to maintain its Founders’ visitor attraction, which collects and preserves pay…” with vulnerable people to relieve individuals with aims. objects associated with farming and goods mental health and or substance misuse problems. used by local craftsmen circa 1750-1960. The Through the art sessions, their aim is to help them In a recent report their findings show how museum is distributed over ten acres of fields, Surrey Artists Open Studios overcome fears and anxieties, to take responsibility Watts Gallery delivers social value to local woodland and barns. Their programme of for themselves and to develop coping mechanisms communities in particular focussing on diverse events for school groups and families aim to Surrey Artists Open Studios is a membership for daily life. They work with a range of vulnerable groups within Surrey across Schools, Prisons bring the museum alive with demonstrations organisation for artists and makers in the individuals across Surrey and the surrounding area and vulnerable groups. The report comments and hands-on activities showcasing rural Surrey area. They currently have a member- with referrals from GPs, mental health workers, that ‘there is nothing tokenistic about the crafts and vanishing skills. They have an active ship of approximately 379 members, of which programme’. The number of participations in social care, family members and also self-referrals. 135 members have a craft practice. It In 2019 volunteer scheme however; access via public

36 37 The 2020 October Farnham Craft Month evalu- THE FINDINGS ation report recommendations include ‘Future strategic collaborations with regional and local tourism bodies such as Visit Surrey, Visit South Creating a Sense of Place East England, Visit Guildford and Destination Basingstoke to greatly benefit the profile and visitor potential’ and ‘to invest in audience development’ identified as a way of attracting The recent Crafts Council report shows that a improved links with the community; 50% it was perhaps rather scattergun than strategic specific and sustainable funding other than driver for craft consumers is the consideration public, 50% students… it was an unexpected and targeted. There is also evidence of a lack ACE and local authority funding.” of sustainability and the interest in supporting bonus”. The extensive qualitative research of of a cohesive database of makers within the local makers. This research echoed the nation- this report however indicated that there was area or indeed a resource for makers wishing There is evidence of the awareness of the al trend indicating that a high percentage of much to be achieved in terms of creating and to utilise their skills for community benefit. potential and the need and desire of both local craft collectors felt a commitment to the communicating a cohesive plan to increase the Farnham and the wider Waverley Borough to sense of place and therefore the desire and impact of craft in areas of the community that “No cross fertilisation across venues locally” leverage Craft. In the press release announc- willingness to support local makers. In the clearly could benefit but are not necessarily ‘on ing Farnham’s new World Craft City status, recent announcement of World Craft Status the radar’ of venues. It’s evident that all ven- Councillor John Ward, Leader of Waverley the judges commented on the “strong sense of ues/organisations are undertaking projects of a “The biggest issue for Craft in Farnham is the Borough Council said: community in Farnham”. Their perception was social benefit but the lack of hard data makes lack of continuity between makers” of “a town full of makers and making at all lev- this difficult to quantify and would indicate that “As Farnham evolves, the historic value of els, across all craft forms and in a huge range craft will become one of the key elements of spaces (many hidden from public view).” of the local economy. Waverley Borough Council will be working closely with Farnham In the evaluation of Craft Month the feedback Town Council and Surrey County Council to received from visitors indicated that there is strengthen Farnham’s role as a place of cre- a willingness to interact with more individual ativity and innovation.” makers. Around 96% of respondents to the evaluation of Craft Month indicated that their This research found that apart from the in- visit to Farnham Craft Month events had a depth Watts Gallery Art for all evaluation positive impact on their likelihood of attending report there was limited social impact evalua- future cultural events in Farnham and almost tion undertaken by the main craft organisation three quarters said an event they had attend- in the area. Some local craft makers would ed improved their perception of Farnham as a be keen to take part in delivering workshops/ place. events to identify groups who wouldn’t ordinarily be able to engage with the arts but lack the connection to the right opportunity. “The town is ‘creatively rich’ and we don’t celebrate (it) enough” “Craft by its very nature is inclusive and anyone can have a go… at any level really, it It has also been commented on that events would be great to do something locally but I help bring in the general public to the University for the Creative Arts “Our event wouldn’t set it up alone.”

38 39 Health and Wellbeing

Research published by University College London’s “There should be a lot more involvement “Craft is a great way into help people, it’s MARCH mental health network – formed in 2018, in outreach projects and more diversity of very levelling and the hands on activity with members including the Crafts Council and the Museums Association, shows that engaging with social groups” works on so many different levels” the visual arts can reduce reported anxiety, and that visiting museums can protect against demen- One of the main providers of support for vulner- tia’s development. able adults with mental health issues, addictions or physical disabilities, Creative Response has undertaken projects with craft organisations in the ‘Cultural activities encourage gentle area. At the time of writing this report they are movement; reduce social isolation, and going through a change of senior management. lower inflammation and stress hormones such as cortisol. The arts are linked with dopamine release, which encourages cognitive flexibility, and they reduce our risk of dementia.’ Dr Daisy Fancourt, author of the report.

According to the Office of National Statistics those working within the creative industries were up to four times more likely to die by suicide. The evaluation of the Arts on prescription project run by Arts and Minds, a leading arts and mental health char- ity revealed a 71% decrease in feelings of anxiety and a 73% fall in depression and 76% of participants said their wellbeing increased. The report, published in July 2017 demonstrated that the arts could help meet challenges in health funding and services.

According to available local data the 85+ population is the fastest growing age group in the area and this rise is expected to continue. Farnham Maltings hosts a number of weekly events promoting wellness among these identified audiences.

40 41 Diversity and Inclusion

From indicative research findings following Craft is inclusive and its ability to reach diverse people who would not normally access art or This research shows us that a strong thread of Farnham’s October Craft Month, it was felt that audiences in terms of interest and engagement the countryside and people with poor mental the area’s craft activity is around what is referred the core visitors were not very diverse. The are clear with television programmes such as health as target groups. Their participatory to in the recent Crafts Council Market for Craft report called for more audience development the Great British Throw Down attracting an programme understands the wellbeing bene- report, as Occasional or Everyday Maker but activities with schools, local youth and com- audience to the 2017 series of 2.65 million fits of hands-on making with others and being there is evidence that among this community a munity groups, health and wellbeing based or- people. There are venues such as Rural Life outdoors amongst natural beauty. very high percentage are keen to give something ganisations, clubs and associations. However, Living Museum, which offer an inclusive entry back via skills exchange and volunteering. This is diversity should never be tokenistic but should into Crafts through the context of heritage and From the aggregated available statistics it is a resource that is currently not being developed. be looking to engage and embrace all groups attract excellent audiences. Watts Gallery also clear that diversity among audiences to Craft considering inclusivity of age, gender, income, has an excellent programme of events target- events and venues has been problematic to It must be recognised that some minority ethnic physical and mental challenges. ing diverse audiences. Hannah Peschar is a achieve. groups may be hard to reach because of lan- private sculpture garden provided alongside guage or differences in culture, which contribute Interestingly the percentage of makers in- targeted events for adults and children. Surrey to inequalities. Cultural sensitiveness is important terviewed who considered their educational Hills Arts commissions work in the Surrey Hills “You have to shoe horn diversity into to help minimise stereotyping and biases due to workshops/events impactful to the local society AONB encourage visitors to explore the land- applications ...it takes a savvy approach insufficient awareness about religious and cultur- was very high. Apart from those artists regis- scape through art and has a focus on young to include it on a local project” al particularities. tered with Surrey Arts a very high percentage of makers said they would like to be doing This research also found that from a random more for diverse audiences but felt that they sample set within the area taken from increas- didn’t know how to link with them. The Surrey ing distances from the town centre indicated a Arts directory is a free service for artists in all correlation between those people who were non disciplines to network run by Surrey County car owning households who had not visited any Council. cultural event or indeed any of the identified venues outside of Farnham Town Centre.

Of makers interviewed: This research shows that there is a market for craft, across all price points that are available in Considered their event/workshop the heart of the town centre. This would have 65% to have some or signiﬁcant a double benefit; improve the look and diversity of the high street and it could also be leveraged impact on those attending for greater social inclusion using the accessibility of craft to engage with diverse or disengaged Felt that they didn’t know how to audiences. There is a compelling case for organi- link in with diverse audiences - sations working with areas of society who would 81% had no idea what opportunities find this beneficial in terms of health and wellbe- there were ing.

42 43 students to engage in classics and the histories of other art disciplines. There BEING A CERAMICIST: Magdalene was awarded a Dame- were field study trips and studio visits hood in the Queen’s 2020 New Years to established practitioners. There was Honours, for services to Art and Art an abundance of specialist tutors, and Education. Magdalene has honorary the environment was one that encour- doctorates from University of Arts aged experimentation and individual A CASE STUDY development. In my year we had a London (UAL) and The State University of Florida, Gainesville, USA. She is an diversity of nationalities that included honorary member of National Council students from Greece, the Bahamas, for Education of Ceramics Art, USA, USA, Switzerland, France, and of DAME MAGDALENE ODUNDO the International Academy of Ceramics course myself from Kenya. (ICA), patron of National Society for Education in Art and Design, UK, and How much connection did you have In exploring this topic we conducted an interview member of The Art Workers Guild, UK. with Farnham as a student?

with Professor Dame Magdalene Odundo OBE, Why did you choose to come to The emphasis on developing our skills who set up her studio in the Farnham area and has study at West Surrey College of as craftspeople, was complimented by engaging in activities around Farnham. lived here since completing her graduate study at Arts (the founder college of UCA) There was a Saturday school at 64b, the Royal College of Art in London in 1982. following your foundation at where students learned how to teach Cambridge? as part of our internships. We spent time at Wrecclesham Pottery, work- Dame Magdalene Odundo was born in Ceramics, Printmaking and Photography When I was at Cambridge, West Surrey ing with the Harris Brothers, and for Nairobi, Kenya and received her early in 1976. Magdalene then taught for three College of Art was recommended by semi-industrial design we spent time education in India and Kenya. After her years at the Commonwealth Institute, my Foundation Ceramics tutor Zoe at Grayshott Pottery in Hindhead. “A” levels she worked as a studio art ap- High Street Kensington (now the home of Ellison. She introduced me to Henry Therefore as students we were well prentice with an advertising and commer- the Design Museum) in London. In 1979 Hammond, then Head of Ceramics at immersed and engaged in activities cial art firm, and took evening classes in she went to the Royal College of Art, Farnham, who was visiting Kettle’s Yard around Farnham. graphic design, layout and typesetting at London, graduating in 1982. Magdalene in Cambridge. the Kenya Polytechnic. She then worked continued to work in higher education, as an assistant neon sign designer in teaching and participating in national and After you left Farnham you went Nairobi before coming to the UK in 1971. international projects, and working in re- What was your experience of to the Royal College of Arts and Magdalene enrolled on the foundation search, and lecturing at universities both studying in Farnham? then returned to Farnham. What course at the Cambridge College of Art, in the UK and abroad. She has participat- brought you back? followed by a BTEC course in Commercial ed in many residencies while developing Teaching at Farnham was rigorous, and Art at the same college. Magdalene her own studio practice. In 2001, UCA the balance between studio practice I drifted back to live in the area, and by realised she had become interested in appointed her Professor of Ceramics, a and academic study was well struc- chance settled, and was then invited to ceramics and printmaking and applied post she held until her retirement in 2014. tured. Three days were dedicated to teach at UCA. to Farnham’s West Surrey College of Art Magdalene Odundo was made Profes-sor workshops, one day to history of art & Design (UCA) on what was then the Emeritus in 2016 and Chancellor of the and your area of study, and one day 3D Art & Design course, graduating in University for the Creative Arts in 2018. complimentary studies which enabled

44 45 What was your impression of Why is CSC important to you as a demonstrations, and workshops. The for emerging ceramic artists. Farnham when you returned? contemporary ceramicist? adult education programme continues Farnham is a town that continues to to run classes in ceramics. The West attract artists and pottery is a very There were some changes includ- The Crafts Study Centre has been Street Potters and 318 Ceramics have prominent craft here, with an estab- ing the College changing its name important to me in many ways over their bases in Wrecclesham, both run lished and growing market of ceramic from West Surrey College of Art and the years. I used it as reference for the workshops and have individual studios collectors and enthusiasts. Design to the Surrey Institute of Art students when I was teaching and I and Design, which has since become was based there as a member of the UCA. Fortunately the network of mak- research team. I frequently used the ers and craftspeople in the area still collection for the preparation of my own existed, and activity appeared to have lectures and continue to refer back to it increased. Even the Farnham Museum while developing my own work now. had begun engaging in community projects, later adding a purpose built How do you think the work of the gallery and workshop in their beautiful CSC could be enhanced? garden.

The Crafts Study Centre would benefit How do you think the activities of from additional space. This would help the CSC have contributed to studio to extend its reach by expanding the practice of ceramicists locally? collection into other areas of craft, and adding study facilities to provide teach- The Crafts Study Centre is a specialist ing and handling rooms as well as an university museum open to the pub- appropriate lecture space. This would lic as well as a research centre and also enable the Crafts Study Centre to home to internationally renowned extend its collaborative activities in the collections of modern British craft. The community as well as with like-minded ceramic collection is a unique insight national and international institutions. into the lives of pioneer potters such as Bernhard Leach, Michael Cardew What is your awareness of the and Lucie Rie. This collection offers market for ceramics in the area? valuable information for ceramicists in the area, who can request to view and Farnham is known as a Craft Town, handle the pieces in the archive. The and we are delighted that it has been Crafts Study Centre therefore offers a awarded the status of World Craft unique opportunity for ceramicists in City, by the World Crafts Council. The the area and those visiting from further Maltings, the Ashgate Gallery and the afield. Crafts Study Centre organise an annual craft month for the town which includes ceramics. Art in Action also hold an annual ceramic fair at the Maltings, which includes exhibitions, films, lectures,

46 47 outside of these identified groups. The growing experience economy is also identified as a sig- Vision of the Future CONCLUSIONS AND nificant revenue stream and a way of integrat- ing Craft more in the community.

The announcement of Farnham having World For the purposes of this report, we have looked Craft City status presents a timely opportunity at what the key organisations could or should RECOMMENDATIONS for the stakeholders in the craft market locally be doing in light of the findings and recom- to work together to maximise the potential mendations within this report. of the Craft market in the area. The 2020 The findings show that nationally the market Covid19 pandemic has also created a shift in Within three to five years the crafts industry for craft has grown massively over the last the needs of makers and the habits of buy- should be thriving in Farnham and the sur- few years and although there has been an ers. Digital platforms will be more important rounding area with the support and invest- expansion of the craft sector in the area, it has than ever before and equipping makers with ment that we have indicated. It would ideally by comparison been under-achieved. There is the right skills will result in growth in the craft be structured as follows: evidence that the overall craft market in terms industry locally. of craft sales could be enhanced via strategic Farnham World Craft City would be promot- marketing support for makers. The market- Craft has been proven to be an effective way ed all year round as a destination for collec- ing campaign around Farnham Craft Month of engaging and improving people’s lives. This tors, the general public and craft makers at generated good audiences but all year round research has shown that there is potential all levels and delivering world class exhi- promotion of craft within the area is necessary to leverage the everyday maker to provide a bitions, events and activities. The steering to maintain and grow the craft market for local greater volunteer network to result in social group representing all of the key stakeholders makers and venues. Investment in digital plat- benefit. Craft is an accessible tool and there- would create a proactive partnership and forms and audience development are critical fore can be used to create a cohesive commu- would ideally have at least one full time mem- in order to assist promoting craft activities, nity across the Farnham area. ber of staff to drive the activities of Farnham the makers, their work, local venues and craft World Craft City. The stakeholders would con- organisations. This Report is a Call For Action. The findings sider cross-pollination of audiences throughout in this Report demonstrate strongly that craft their programming to contribute to the overall Integration of Craft and the awareness of Craft in and around Farnham and the Surrey Hills success Crafts market in the region. Town status were shown to be low within the AONB could be a real catalyst for change must area and more could be done for both econom- feed into all local and national policy includ- A robust digital offer, in terms of a fully ic and social benefit. The need for more retail ing planning and infrastructure to ensure that supported website and a comprehensive opportunities for makers is evident through this craft and its economic and social benefits are searchable database of artists would en- research as it the development of a bigger craft at the heart of decision-making for the area, sure that makers in the area were profiled. audience, at all levels and from a wider catch- The timely announcement of Farnham as a In addition, the website would also feature all ment area, nationally and internationally who World Craft City and the incredible local assets exhibitions and programmes of events and ac- are buying across all disciplines. including; talented and creative people, a world tivities with additional information and links to class University with a dedicated craft resource encourage visitors to get involved. There would Although it is evident that there are some and research centre, unique galleries, studios also be an active social media campaign run- excellent craft projects in the area delivering and workshops are all available to support and ning all year round to develop key audiences social impact, it is aimed at pockets but not drive this change. for Farnham as World Craft City and extend the general low-income communities who fall the reach nationally and internationally.

48 49 The Crafts Study Centre would host larger scale Throughout Farnham and the Surrey Hills AONB international contemporary and historical craft more people would be involved in crafts as well exhibitions at external venues and extend their as more interaction and sharing skills from mak- collaboration with other organisations locally, ers with the public, recognising that a significant such as the International Textile Research Centre, proportion of the craft buyers also like to take attracting significant international press and part in learning. There would be a regular craft media as well as travelling audiences to Farnham. bus at weekends encouraging visitors to more We would like to thank the following organisations and individuals for their contribution to The Crafts Study Centre would work closely with remote areas of the Surrey Hills. There would this Report: the New Ashgate Gallery and Watts Gallery to be regular hubs for seeing and buying craft such host a high level series of academic lectures to as Pierrepoint Farm. The retail offer through- Crafts Council, Julia Bennett develop a collectors’ network and encourage a out Farnham will be developed to appeal to all Creative Response, Jacquie Killen local sales base. CSC would help to develop a markets from the international collector through Farnham Maltings, Gavin Stride professional programme of courses aimed at in- to the entry-level craft buyer. The steering group Jane Friend creasing the skill level of makers including access will work together to develop audiences. Craft Hannah Peschar Sculpture Garden, Vikki Leedham to a robust on-going professional development would be used as a way to revitalise the High International Textiles Research Centre, Professor Lesley Millar programme of established local makers and Street with makers working and selling work. This Museum of Farnham, Josh Godfrey alongside those on craft courses at UCA. The should be led by New Ashgate Gallery with sup- New Ashgate Gallery, Outi Remes Farnham Craft Steering group can address this port and investment from Farnham Council. Dame Magdalene Odundo and lead on the provision. The programme would Craft will be the driver locally to help diversify Rural Life Centre, Emma Midgley take place across Farnham and the Surrey Hills audiences, not to be tokenistic but to harness the Surrey Artist Open Studios, Caitlin Heffernan AONB in different venues and/or be centred on a inclusivity of craft activity with the clear benefits University for the Creative Arts, Colin Holden specific venue, which would gain recognition for of health and wellbeing to engage those with Watts Gallery, Kara Westcombe Balckman high quality courses (like West Dean). An obvious physical and mental challenges. Moreover all Waverley Borough Council Charlotte Hall venue for this would be Watts Gallery as poten- areas of the community should be embraced West Kilbride Craft Town tial hosts. considering age, gender and importantly those on West Street Potters/ Farnham Pottery, Julia Quigley low income. Farnham will lead the way in introducing craft And all the makers, visitors and collectors who contributed to the one-to-one interviews and into both primary and secondary schools. Every Surrey Hills Arts would lead on specifically out- online questionnaires. child growing up in Farnham should know it’s door crafts within the Surrey Hills AONB devel- a craft town and understand that making is an oping the audiences that would be most benefi- option for future career. This would be achieved cially engaged through this discipline at all levels. Parker Harris were commissioned to undertake the research activity, data collection and as through the national Arts Award Scheme, which There is already the potential to do this at Birtley authors of this Report. parkerharris.co.uk would allow some students who are not so Estate where a few artists have made temporary academically successful to gain a qualification structures and run workshops in the woods such All or part of this publication may not be reproduced, stored in retrieval systems or transmit- which recognises that they might have a creative, as carving, willow weaving and wooden instru- ted in any form or by any means, whether electronic or mechanical, including photocopying, spatial and more hands-on intelligence. It would ments. This would require resources to ensure recording or otherwise, without the prior permission in writing of the publisher. also bring makers into direct contact with these that activities are accessible to all including trans- young people to ensure they get quality provi- port from rural locations. Surrey Hills Enterprises sion. UCA students would be involved by leading are working towards their first Artisan Festival sessions providing critical professional develop- and Trail. ment opportunities for them. A Craft Education Coordinator would lead on this.

Funded by Research England