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Maker's Eye: Stories of Craft

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Maker's Eye: Stories of Craft Maker’s Eye: Stories of Craft Crafts Council Gallery 7 July — 9 October 2021 Exhibition Information Curators Maker’s Eye: Stories of Craft Assemble (Amica Dall & Giles Smith)p2 Taking its name from a 1982 Crafts Council show – p4 the first at its former gallery on Waterloo Place, Michael Brennand-Wood Piccadilly, Maker’s Eye celebrates the breadth and Caroline Broadheadp6 qualities of craft and the Crafts Council Collections. Neil Brownswordp8 p11 Dr Christine Checinska The starting point – then as now – was to We encouraged all to look beyond their own interrogate and reflect on what craft is. 13 disciplines and area of expertise, to consider p14 John Grayson makers, each with work in the Crafts Council works that inspired them, or reflected their Collections, were invited to consider the experience and understanding of craft. Each p16 Ineke Hans question: “What does craft look like and of the 13 makers was asked to identify an mean to you?” Maker’s Eye offers a range additional work that was not in the Collection, p18 Angela James of perspectives on the issues driving and for the curator, was. craftspeople today. p20 Michael Marriott The exhibition is the most significant Together, these makers represent a cross- presentation of objects from the Crafts Council p22 James Maskrey section of craft interests, disciplines, career Collection in its 50 year history and serves as a stages and models of practice. We asked platform to explore the stories of craft, and the p24 Freddie Robins them to each select up to 15 objects as their role of collecting and collections, past, present response. To do this, they had access to more and future. p26 Matt Smith than 2,400 objects in our main and handling collections, plus Crafts Council’s extensive We invite you to explore the displays, discover p28 Esna Su archives and library collections and nearly their stories and make your own connections. 50 years of Crafts magazine. p30 Simone ten Hompel Which objects and stories speak to you? In Summer 2020 curator, Dr Christine Can you choose a favourite? Checinska, was invited to expand the Share your stories of craft using #MakersEye narrative by considering this same question from a different perspective, selecting objects @CraftsCouncil representing makers and making not found @CraftsCouncilUK in the Collection. By exploring what is missing, this selection opens up a conversation about craftscouncil.org.uk the Collection and how it needs to evolve. Exhibition Information 1 When we hear the word ‘craft’, most of us The objects in our selection are all made for probably think of something very (if beautifully) everyday life. These rugs, spoons and tiles Assemble old-fashioned. An individual artisan in a dusty are ordinary. This is a word that is often used workshop filled with arcane tools carefully pejoratively, but for us it is democratic and Architecture carving, chiselling or weaving an object from universal. It is our belief that craft should another age. We think of things that are special, be ordinary. And it is not only ceramic particular. Whether we treasure ‘craft’ objects sanitaryware. The objects we use on a day-to- & Design or dismiss them as unaffordable luxuries, we are day basis comprise a huge part of our reality, unlikely to think of them as particularly useful. it is important that the objects available to everyone are made with thought and care. Collective But that really is a matter of perception. For example, very few of us think of craft as we sit The ceramics workshop we helped establish on the toilet at home, at work, or in a motorway in Liverpool, Granby Workshop, whose work service station. But there is just as much craft in is in the Collection here at the Crafts Council, the production of a porcelain toilet bowl as there was founded on that idea. The ceramics made is in the products made in the dusty workshops there use everyday materials in experimental of medieval craftsman. In the Armitage Shanks ways to produce objects that express the way factory in Staffordshire, where the mould we that they are made. nominated for the Crafts Council Collection was made, we spoke to technicians who had spent a lifetime developing the deep, highly complex Website and intuitive skills deployed in making moulds assemblestudio.co.uk for new prototypes and production items. Selected 1 2 3 4 Objects 1. Large Serving Spoon 2. Autumn Migration The Diary and Observations C3 Stacking Chair Large Storage Jar 4. Terracotta Tile William Phipps, 1974 Vanessa Robertson and of a Tench Fisher David Colwell, 1986 Andrew Young and Ruabon Clay Products Forged and hammered silver Norman Young, 1977 DR Wakefield, 1981 Steam-bent ash wood, lacquered Joanna Young, 1984 Manufactured natural Welsh clay M15 (Image: Stokes Photo Ltd) Woven linen warp and woollen weft Published by The Chevington Press. kiln-dried sycamore Wheel-thrown stoneware, glaze HC249 (Image: Anon) T26 (Image: Heini Schneebeli) Hand-made paper, leather, gold W70 P367 Round Fruit Basket Poster, A Closer Look: Rugs B28 David Drew, 1979 Scarf Clear Round Jug on Flat Base Two Fairytale Boxes: Jack Philip Miles, 1983 Unstripped Somerset willow Geraldine St Aubyn Hubbard, 1980 Poster, A Closer Look: Rugs Simon Moore, Glassworks, 1989 and The Beanstalk & Little Crafts Council W27 Woven cashmere warp and Crafts Council, 1983. Blown lead glass Red Riding Hood AM422 silk weft AM422 G46 Jim Edmiston, 1988 Carved Articulating Snake T44 Stained and painted pine and Howard Raybould, 1979 3. Cup and Saucer Mug birch plywood Carved coloured Quebec pine Joanna Constantinidis, c. 1990 Karen Downing, c. 2000. W76 W34 Wheel-thrown porcelain, glaze HC186 HC177 (Image: Relic Imaging Ltd) Maker’s Eye: Stories of Craft Exhibition Information 3 The crafts provide an alternative space for Everything was possible, you made your select pieces that had exerted an influence on creative thought. I’m interested in the interface own way in whatever material landscape you my thinking. Images that have never lost their Michael between traditional and contemporary found yourself. I’ve always been drawn to the power to intrigue, ideas that pointed towards expression, in the skills and materials that border areas, the margins between disciplines, possible futures previously unimagined. I was Brennand- provide a launchpad for experimentation. the points at which ideas overlap, blurring also curious how a group of diverse objects I have no interest in replicating the past. distinctions – textile or sculpture, applied or might converse with each other. There’s a dialogue between concept and fine art piece. People talk about the hierarchies Wood making that I find endlessly fascinating – one of materials. It’s worth reminding ourselves There’s a slightly unexpected figurative feel shapes the other. that there’s also a hierarchy of ideas – stylistic in my selection. Virtually every piece relates to approaches that are deemed acceptable and the body, which was completely unintentional. Textile Artist I’m the product of a system when a cornerstone ones that don’t fit a contemporary construct Relooking at the group, the conversation of art school practice was anarchy – students of craft practice. centers on work as a physical manifestation were encouraged to ask all the wrong questions of an individual maker’s persona, a creative at the most inappropriate moments to put I believe that good artists take risks and that extended self. themselves in unfamiliar territory. It’s a directive was the main focus for my selection. I was I continue to follow. The first question I always interested in the work of individuals who On a very elemental level, everything I’ve asked myself after any technical demonstration pursue distinctive, independent and non- selected I would love to live with. In the end, was, “What could I do with this?”. It was never corporate lines of personal research, makers the making is the language that articulates enough to replicate; traditions need to evolve whose practice has influenced, excited and the idea. otherwise they ossify. challenged. Innovation in crafts requires both an expressive and a constructional voice. Website My perception at the time was that the applied I’m receptive to works that exhibit a synthesis brennand-wood.com arts were completely uncharted territory. of both qualities. My primary focus was to Selected 1 2 3 Objects 1. The Punter’s Dream; The Large bowl with curved horn Tail of the Dog Pumpkin Form A Willow for Ai Weiwei, Hollow-form story so far: A man punting Jacqueline Poncelet, 1983 Gillian Lowndes, 1983 Amanda Bright, 1988 Wen Tao, Liu Zhenggang, Jessica Turrell, 2010 alone is joined by a woman Hand-built T Material clay, glaze Fibreglass tissue dipped in Etched and patinated mild Zhang Jinsong, Hu Mingfen; Electroformed, blackened from a dream P321 porcelain slip, draped over clay steel sheet Scott’s Cumbrian Blues copper, and cotton string Sam Smith, 1972–73 core, and nicrochrome wire M39 Paul Scott, 2012 J303 2. Unfolding/Hanging; Carved woods, rope, string, P324 Reglazed, refired, earthenware Utility Chair Apple Laundry Basket Spoonie Collection: American shells, feather, glass bead, tacks Willow pattern platter (c.1840), Richard La Trobe-Bateman, 1984 Bracelet Lois Walpole, 1995 Silver Spoon and Pewter and fabric. inglaze, decal collage, gold lustre Sawn and wire-brushed wych Peter Chang, 1987 Coiled cardboard, apple cartons, David Clark, 2011 W1E (Image: Todd White) 2013.5 elm wood Carved Styrofoam, papier maché, willow and string Silver spoon and hand-formed Pumpkin
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