PORTFOLIO ← Cover image: ISBN: 978-1-906691-67-7 PORTFOLIO Critical Selection 2019—2020 Annemarie Reinhold, Carrot Spoons Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm Basketry Caoladóireacht Calligraphy Peannaireacht Photographer, Roland Paschhoff Stone Cloch Ceramics Ceirmeacht Metals Miotail Wood Adhmad Furniture Troscán Fashion Faisean Printmaking Déanamh Priontaí Jewellery Seodra Textiles Teicstílí Surface Design Dearadh Dromchla Glass Gloine Weaving Fíodóireacht Paper Páipéar Leatherwork Saothar Leathair Enamelling Cruanadh Critical Selection 2019—2020

www.dccoi.ie/portfolio Design & Crafts Council of Ireland

PORTFOLIO2019-2020_Cover4.1_FA180219.indd 2-3 18/02/2019 15:34 PORTFOLIO ← Cover image: ISBN: 978-1-906691-67-7 PORTFOLIO Critical Selection 2019—2020 Annemarie Reinhold, Carrot Spoons Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm Basketry Caoladóireacht Calligraphy Peannaireacht Photographer, Roland Paschhoff Stone Cloch Ceramics Ceirmeacht Metals Miotail Wood Adhmad Furniture Troscán Fashion Faisean Printmaking Déanamh Priontaí Jewellery Seodra Textiles Teicstílí Surface Design Dearadh Dromchla Glass Gloine Weaving Fíodóireacht Paper Páipéar Leatherwork Saothar Leathair Enamelling Cruanadh Critical Selection 2019—2020

www.dccoi.ie/portfolio Design & Crafts Council of Ireland

PORTFOLIO2019-2020_Cover4.1_FA180219.indd 2-3 18/02/2019 15:34 PORTFOLIO Critical Selection 2019—2020

Contents

Message President Michael D. Higgins 5 Preface Breege O’Donoghue 6 Introduction Ciara Garvey 7 PORTFOLIO Wider Programme 9

Critical Selection 2019—2020 11

The Surface Matters Liz Cooper 61 Maker Profiles 67 Acknowledgements 116

PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

5 Preface Breege O’Donoghue

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

6 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Introduction Ciara Garvey Development Manager, Collector & Tourism Programmes Design & Crafts Council of Ireland → Welcome to PORTFOLIO Critical Selection 2019— 2020. The judging panel for this edition were: Liz Cooper, Development Manager, Design-Nation, UK; Johan Valcke, Founder of Design Flanders and Owner of Valcke Art Gallery, Ghent, Belgium and Kim Mawhinney, Head of Art, National Museums of Northern Ireland. → The benchmark by which all applications were assessed was the achievement of excellence in contemporary craftsmanship and design by comparative international standards. Decisions were made over the course of three days of robust deliberations involving discussions on artistic statements, viewing digital images of current bodies of work and scrutinising the physical pieces submitted. → The panel noted that a significant number of the selected makers have featured regularly in previous editions. They were impressed by the fact that these makers continue to produce such extraordinarily strong work. There was a lot of excitement in encountering the highly skilled and imaginative creations by makers who are new to the Critical Selection; Annemarie Reinhold, Emma Bourke, Ciarán McGill, David McCaul and Alan Meredith. The judges also selected seven new makers for the PORTFOLIO wider programme, an online showcase of Ireland’s top makers creating the very best of Irish design and craft, either one-off pieces or limited editions. → Along with the Critical Selection, the wider programme is intended for audiences interested in engaging with contemporary craft and design for a variety of reasons such as commissioning, purchasing and selecting for exhibitions. Some of the events for which the PORTFOLIO programme was used in 2018 include: → Lasting Impressions — Curator Gregory Parsons selected makers for this exhibition which showed at the National Design & Craft Gallery in Kilkenny and Ruthin Craft Centre in Wales. Featuring the work of John McKeag, Helen O’Connell, Cillian Ó Súilleabháin, Nicola Henley and Scott Benefield alongside UK-based contemporaries, this exhibition celebrated the crafting of objects by looking at how craftspeople make and the processes they use to produce long-lasting objects.

7 Introduction Ciara Garvey

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

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

8 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

Alan Ardiff Jewellery Simon Doyle Furniture Juliet Ball Ceramics Dunleavy Bespoke Furniture Yvonne Beale Jewellery Terry Dunne Weaving Muriel Beckett Textiles Isobel Egan Ceramics Scott Benefield Glass Chaïm Factor Wood Roger Bennett Wood Deirdre Feeney Glass Magda Bethani Ceramics Figure2Ground Surface Design Paul Bokslag Paper Alison Fitzgerald Basketry Emma Bourke Glass Sara Flynn Ceramics Lorna Boyle Jewellery Adam Frew Ceramics Max Brosi Wood Peter Fulop Ceramics Denis Brown Calligraphy Martin Gallagher Furniture Cathy Burke Ceramics Alva Gallagher Glass Úna Burke Leatherwork John Galvin Furniture Anne Butler Ceramics Róisín Gartland Fashion Edmond Byrne Glass Séamus Gill Jewellery Mike Byrne Ceramics Mark Hanvey Wood Stuart Cairns Metals Tricia Harris Furniture Kevin Callaghan Ceramics Karl Harron Glass Sean Campbell Glass Stevan Hartung Furniture Helen Cody Fashion Ian Hawthorne Wood Alison Conneely Fashion Pierce Healy Jewellery Julie Connellan Jewellery Rudolf Heltzel Jewellery Ryan Connolly Furniture Nicola Henley Textiles Eimear Conyard Jewellery Jennifer Hickey Ceramics and Metals Joe Hogan Basketry Seliena Coyle Jewellery John Hogan Metals Frances Crowe Textiles Shane Holland Furniture Hugh Cummins Wood Horizon Furniture Furniture Danuna Glass Glass Bob Johnston Basketry Debbie Dawson Glass Brendan Joseph Textiles Róisín de Buitléar Glass Alison Kay Ceramics Jack Doherty Ceramics Catherine Keenan Glass Karen Donnellan Glass Ceadogán Textiles Chloë Dowds Ceramics Knut Klimmek Furniture 9 PORTFOLIO Wider Programme

Umit Kutluk Fashion Kate O’Kelly Ceramics Peadar Lamb Glass Marcus O’Mahony Ceramics Sonja Landweer Jewellery Nigel O’Reilly Jewellery Bernie Leahy Textiles Mandy Parslow Ceramics John Lee Furniture Debbie Paul Jewellery Locker13 Furniture Eric Phillips Furniture Alison Lowry Glass Nicole Portlock Ceramics Andrew Ludick Ceramics Owen Quinlan Ceramics Eoin M Lyons Jewellery Vaida Rasciute Fashion Caroline Madden Glass Michael Ray Glass Emma Manley Fashion Inga Reed Jewellery David McCaul Jewellery Annemarie Reinhold Metals Kathleen McCormick Basketry Louise Rice Glass Michael McCrory Metals Rocker Lane Workshop Furniture Deirdre McCrory Enamelling Deirdre Rogers Glass and Printmaking Natasha Rollinson Jewellery Ciarán McGill Wood Freda Rupp Ceramics John McKeag Ceramics Leo Scarff Furniture Rachel McKnight Jewellery Killian Schurmann Glass Deirdre McLoughlin Ceramics Enda Scott Furniture Alan Meredith Wood Jane Seymour Ceramics Sabrina Meyns Jewellery Rory Shearer Ceramics Claire Molloy Ceramics Jennifer Slattery Textiles Cecilia Moore Metals Andrea Spencer Glass Michael Moore Ceramics Kathleen Standen Ceramics Karen Morgan Ceramics Paula Stokes Glass Kathleen Moroney Ceramics Superfolk Furniture Cara Murphy Metals Rachel Swan Jewellery Liz Nilsson Textiles Sasha Sykes Furniture Cillian Ó Súilleabháin Furniture Garvan Traynor Jewellery Stephen O’Briain Furniture Jim Turner Ceramics Susan O’Byrne Ceramics Eva Walsh Glass Eily O’Connell Jewellery Joseph Walsh Furniture Helen O’Connell Stone Grainne Watts Ceramics Nuala O’Donovan Ceramics Wedge Furniture Cóilín Ó Dubhghaill Metals Derek Wilson Ceramics Laura O’Hagan Ceramics Peter Young Glass Angela O’Kelly Jewellery Zelouf & Bell Furniture

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

10 PORTFOLIO Critical Selection 2019—2020 DAVID McCAUL JEWELLERY Glyph Earrings, 18ct yellow gold, iron, brilliant cut white diamonds → 5.5 × 1.7 × 1.7cm each. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland CARA MURPHY METALS Grass Bowls, silver and vitreous enamel → 5 × 5 × 2cm each. Photographer, David Pauley PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland ZELOUF & BELL FURNITURE Gazelle Desk, figured mahogany, ripple sycamore, hand-carved walnut, leather, brass, hand-rubbed satin lacquer finish → 150 × 50 × 78cm. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland EMMA BOURKE GLASS Pancreas with Immortelle and Spleen Bracelet with Honeysuckle Borosilicate glass and silver, 6.5 × 3.2 × 3.2cm and 6 × 5 × 3.5cm → Photographer, Sylvain Deleu PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland ALAN MEREDITH WOOD Ebonised Triptych, Irish oak, oil, approx. 35 × 16cm → diameter (each). Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland STEVAN HARTUNG FURNITURE Media Cabinet, pear wood and Makassar ebony → 165 × 105 × 55cm. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland JACK DOHERTY CERAMICS Stone on a Stone, porcelain, copper, 34cm high → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland NUALA O’DONOVAN CERAMICS Banksia 2 & 3, Dialogue, porcelain, 90 × 55 × 55cm overall → Photographer, Janice O’Connell at f22 Photography PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland EIMEAR CONYARD METALS Rook, 24ct Keum-boo, oxodised silver, porcelain → 6.7cm tall × 5-8cm diameter. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland CECILIA MOORE METALS A Dressed Up Life, gilding metal, bronze, found material → 6 pieces, 11 × 11 × 11cm. Photographer, Damien Maddock PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland ÚNA BURKE LEATHER Lace Halter, vegetable-tanned calfskin, solid brass fittings coated with gold, brass screws, 40 × 30 × 20cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland JOHN LEE FURNITURE Lillias, hand-carved and sandblasted oak, 205 × 120 × 76cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland SARA FLYNN CERAMICS Flection Vessel, porcelain, manganese layered glaze → 31.5cm high. Photographer, Glenn Norwood PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland JOSEPH WALSH FURNITURE Rinn Enignum Chairs (Pair), olive ash and suede, 75 × 110 × 225cm and 72 × 95 × 123cm → Photographer, Andrew Bradley PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland MIKE BYRNE CERAMICS On Best Behaviour and Promise of Order, fired clay, rubber, nylon rope, 46 × 36 × 14cm and 44 × 30 × 15cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland CIARÁN McGILL FURNITURE Dolls, silver-dyed figured eucalyptus, 25 × 25 × 20cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland JOE HOGAN BASKETRY Cluster of Reclining Pods, willow rods, wood and stones 80 × 68 × 100cm, 53 × 63 × 80cm and 43 × 49 × 57cm → Photographer, Michael McLaughlin PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland CÓILÍN Ó DUBHGHAILL METALS Tulipiere 11, nickel plated copper, 36.5 × 20 × 28cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland ANNEMARIE REINHOLD METALS Carrot Spoons, Britannia silver and sterling silver → 13.2 × 2.4cm and 10.7 × 2.5cm. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland JENNIFER HICKEY CERAMICS For September, porcelain, tulle and translucent thread → 19.5cm. Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland ROGER BENNETT WOOD Inlaid hornbeam bowl, hornbeam wood, Argentium tarnish-resistant silver, wood dyes, Danish oil, 15 × 6cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland STEPHEN O’BRIAIN FURNITURE Walnut Desk, French walnut, 170 × 80 × 75cm → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland GRAINNE WATTS CERAMICS Blaze series (two from a group of five), porcelain, double-walled thrown vessels, decorated with velvet underglazes, 12 × 10cm each → Photographer, Roland Paschhoff PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland SASHA SYKES FURNITURE Gyre (Ophelia), thirty-five varieties of foraged red, brown and green Irish seaweed, resin, acrylic, steel rods, 185 × 220/280 × 3.3cm → Photographer, Phillip Gates courtesy of the Peter Petrou Gallery PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

61 The Surface Matters Liz Cooper

touch is the sense that comes to mind first. → When selecting for the Design & Crafts Council of Ireland’s PORTFOLIO programme, my fellow judges and I were often struck by the way the surfaces of the works spoke to us; as judges we were privileged to be able to handle most of the works submitted. While the selection was a visual process first and foremost, we did not negotiate our conclusions until we had proceeded into the viewing room and closely examined the submissions. We would take turns to lift objects from the tables, turning and examining every facet, discussing the details, and then passing each carefully to the next person. We found active delight in sharing our admiration, for the patina and striations on certain vessels; the highly polished finishes of silver or cabinetry; gleams and hues of assorted metals, gems and ceramic glazes; and imaginative forms described by so many pieces. So much so, that I have to declare that the surface matters, a mantra for those who value excellence in design and making. → Surface in craft and design is not simply a lick of paint or a gloss of varnish. Instead it speaks to us of the skill and knowledge of the maker, in their understanding and handling of the materials that make up the completed forms, be they raw matter like metal, wood, yarn or clay, or those mediated by manufacture, including molten glass, alloys, glazes and varnishes. The surface is also the material of making itself and the way it has been handled, not just an outer coat or covering. Many of those in the Critical Selection 2019—2020 have reached their current high standard of practice through years of refinement: Jack Doherty, a ceramicist for forty-seven years, speaks of his delight at “steadily eliminating unnecessary materials and processes to a point where I use just one clay, one colouring mineral and a single firing.” By contrast, Sasha Sykes’ resin-encapsulated pieces need twelve stages of sanding and polishing that can take weeks. → This deep understanding of the material and its surface can take many years to gain and slow craftsmanship is a recurring motif. Roger Bennett’s small turned vessels have sometimes hundreds of tiny holes in which he insets and polishes fine silver wire; Emma Bourke spends years researching details of her chosen subject, ethnobotany, before she even begins to design her intricately lampworked glass objects; Jennifer Hickey

62 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

describes how the slow nature and repeat actions of her making “are essential components” of her finished porcelain pieces; Joe Hogan grows his preferred material willow for his distinctive basket forms and then after harvest soaks it for at least a week before he can steam it and then finally begin to weave. → Consideration of the finish is an essential part of the design and making process. Makers take pride in showcasing the materials they use in the best possible way. Mike Byrne enhances his slab-built clay vessels with many layers of engobe (similar to slip), and then sands back repeatedly to achieve depth of colour, so the surface is in fact many surfaces expertly layered up. By contrast, furniture maker Stevan Hartung often avoids adding any finish to the wood at all, or maybe just a little oil, as his skills in using polishing tools and well-structured joints will create the desired results. John Lee typically uses oak for his furniture, appreciating the texture and imagining the surfaces as having “driftwood-like qualities … hewn over time by erosion”. Lee incorporates these notions of erosion into the finished pieces by subtly enhancing the distinctive grain with light sandblasting. Grainne Watts carefully sands and water-etches her ceramic vessels over and over, then selects underglazes for her Vortex series as she loves the deceivingly soft effect. She says, “When I combine that velvet background with contrasting pattern, the end result pulsates”. → The deep understanding of how materials perform is intrinsic to these artists’ practices and is why they are the very best in Ireland today. Ceramicist Nuala O’Donovan typifies this; training in 3D design before working abroad in interior design for some years, she turned to making over a decade ago and now says simply, “The material that I use (porcelain) is currently the best for the work that I want to make”. Long training is often essential to realise excellence in the form, as jeweller David McCaul demonstrates, spending eleven years working in six different countries to master his techniques, including “the toughest time but where I learnt the most” in a traditional one-year apprenticeship with German master goldsmith, Gerald Heinrich. → As well as understanding the materials themselves, a solid comprehension of shape, form and spatial relationships underpins good maker practice and enables the making of

63 The Surface Matters Liz Cooper

beautiful and intriguing objects. Joe Hogan has made a deep career-long study of his chosen basket forms and published three books on the subject. He says, “the great advantage of repetition is the honing of skills”. There is an interesting variety of design training and practice in this portfolio: wood turner Alan Meredith studied architecture, as did Sasha Sykes, while Susan Zelouf of Zelouf & Bell qualified in theatre design. Both Sasha and Susan now work in furniture, as does Stevan Hartung who studied industrial and product design. Design training was also the entry point for silversmith and jeweller Annemarie Reinhold and, as remarked above, Nuala O’Donovan. → A more subtle form of education comes through family influences especially, it seems, in smithing: Cecilia Moore comes from a family of makers and “grew up creating things in all sorts of materials”, and Cara Murphy’s parents are also designer- makers. After twenty-five years of making, Murphy, who trained in the UK, says, “My bench is less than a foot from my Dad’s”. Grainne Watts also mentioned a potter-mother and making in the garden studio as a child, and John Lee acknowledges his father as “a constant source of knowledge in every aspect of my work”. → The best surfaces also reflect an understanding of two-dimensional aesthetics and balanced design. This approach is seen in the number of artists in this selection who have also worked in 2D media: metalsmith Cóilín Ó Dubhghaill began his art school training in painting, as did ceramicist Jack Doherty, but both preferred the challenge of other materials and three- dimensional forms. Perhaps more unusually, Mike Byrne left ceramics in the 1990s to work in fine art printmaking for a decade, completing an MA in that discipline in 2001. Byrne’s restless seeking for new knowledge and skills to develop and refine his work typifies this select group of highly disciplined and enquiring makers and designers. → The quest by good artists to learn and expand their practices is lifelong and is evidenced by the impressive list of many influential teachers, artists, makers and design heroes that this group of designer-makers cite; some long gone but always treasured, and others very much at the forefront of contemporary practice and teaching. Unsurprisingly, in a compact country some of this select group have been influenced by their peers and it is

64 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

65 The Surface Matters Liz Cooper

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

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

LC 02.2019

66 Maker Profiles

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

Alan Meredith Alan Meredith Studio MEREDITH The Oak, Mountmellick, Co. Laois alanmeredith.ie E. [email protected] T. +353 87 137 1085 WOOD Collections and Commissions — The Red Jetty, dlr Lexicon, Dún Laoghaire, Co. Dublin — Evolution of Land Plants Pergola, University College Dublin — The Daniel Collection, UK — Cill Rialaig Arts Centre, Kerry — Newpark Comprehensive School, Dublin Alan Meredith is a self-taught — Kilkenny College, Kilkenny — Numerous private collections woodturner. He aims to express the depth nationally and internationally of wood using tool marks and textures. Recent Awards 2018 Winner, RDS Emerging Craft → It is hoped that the resulting work Practitioner Bursary RIAI, Public Space Award will have a sense of material presence, for DLR Red Jetty 2017 Futuremaker of the Year wholesomeness, depth and perhaps Award, Design & Crafts Council of Ireland purity. The use of steam to bend wood RDS National Crafts Competition: Emerging Maker has been developed in the studio over (Woodturning) Award; Irish Woodturners Guild Award the past two years especially in the Winner of Tresor Discovery Award at Tresor Contemporary making of tables, shelves and vessels. Craft, Basel, Switzerland Image Interiors Emerging This ancient steaming method has Design Talent Award 2016 RDS National Crafts allowed new and elaborate forms to Competition: Emerging Maker (Woodturning) Award be generated while still working within Irish Woodturners’ Guild National Seminar: the constraints of solid wood. The use Overall Winner and First Prize in Artistic Category of primary objects: the table; the chair; the vessel; the bench give constraint to the work and help guide the processes of making. → The primary motivation is a desire to make and a never ending fascination with seeing a piece emerge from the material into something meaningful. Essentially the work is about the expression of values and the striving to refine and achieve those values on an ongoing basis. Once a concept is developing there is endless motivation to expand, refine and resolve individual pieces in order that they may be stepping stones to venture into the next unknown. → Alan graduated with a Masters in Architecture from University College Dublin in 2015. He currently works out of his studio in Co. Laois.

68 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2013 Irish American Cultural RDS National Crafts Institute — Muriel Gahan Competition Exhibition; Scholarship RDS, Dublin; National Museum of Ireland — Country Life, Recent/Current Exhibitions Turlough Park, Co. Mayo GROUP EXHIBITIONS AND FAIRS 2015 Glastonbury, Festival of 2019 Surface Matters, Dublin and 2016 Contemporary Performing Arts, Castle; Artesania Catalunya Somerset, UK CCAM, Barcelona, Spain and 2014 New Irish Woodturning, National Design & Craft Gallery No. 6, Sligo Gallery, Kilkenny Young, SO Fine Art Editions, 2018 Sorti du Bois / Out of the Dublin Wood, Deschambault Village, Exploring Synergies, Quebec, Canada Konstfack Telefonplan Wood Work, Blue Egg Gallery, Tunnelbana, Stockholm, Wexford Sweden 2015 Artist in Craft, Cill Weathering, Tent, London UK; —2018 Rialaig Arts Centre, UCCA, Beijing, China Ballinskelligs, Co. Kerry RDS National Crafts 2012 Electric Picnic Music and Competition Exhibition; RDS, —2018 Arts Festival, Stradbally, Dublin; Mid-Antrim Museum, Co. Laois Co. Antrim; Strule Arts 2017 BRAVURA, Blue Egg Gallery, Centre, Co. Tyrone Wexford Improvisations On the Theme Tresor Contemporary Craft, of an Irish Wall, VISUAL Basel, Switzerland Centre for Contemporary Art, Sculpture In Context, Carlow National Botanic Gardens, The Drawing Room, No. 12 Dublin (also 2016 and 2014) Henrietta Street, Dublin RDS National Crafts 2010 RDS National Crafts Competition Exhibition, and 2012 Competition Exhibition, RDS, Dublin RDS, Dublin RHA 187th Annual Exhibition, RHA, Dublin Gallery Representation House, RDS, Dublin — SO Fine Art Editions, Dublin 2015 Body & Soul Music and —2017 Arts Festival, Ballinlough Castle, Co Westmeath 2016 Design Awards Exhibition, Institute of Designers in Ireland, Fumbally Exchange, Dublin

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

69 Annemarie Reinhold Metals ANNEMARIE

Annemarie Reinhold annemariereinhold.com REINHOLD E. [email protected] T. +353 86 262 0450

Recent Awards 2017 RDS National Crafts METALS Competition: Emerging Maker, Silversmithing and Metalwork 2017 Jacobs the Jewellers’ Young Designer Competition, UK: Silver Category 2016 Contemporary British Silversmiths: Graduate Membership Award Annemarie Reinhold creates sculptural 2016 Future Maker Award, Design & Crafts Council of Ireland and wearable metal objects. Her forms 2015 Nominated for the NCAD Staff Prize fund are inspired by nature, in particular 2014 Winner of the Newbridge Silverware Jewellery trees, leaves, plants and their life Competition cycles. → Her process initially involves Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS construction using traditional 2019 Surface Matters, Dublin Castle; Artesania Catalunya silversmithing techniques. Starting from CCAM, Barcelona, Spain and National Design & Craft a flat sheet of metal and creating 3D Gallery, Kilkenny Monumentality / Fragility, forms, she aims to make the metal look National Design & Craft Gallery, Kilkenny soft, light and delicate. → Using metal, COLLECT, with Bishopsland Educational Trust, which has durable qualities, allows me London, UK 2018 Monumentality / Fragility, to capture the constant flux in nature, Mons Anciens Abbatoir, Mons, Belgium and to treasure these moments. This 2017 RDS National Crafts Competition Exhibition, aspect of slowing down is echoed in RDS, Dublin the process of making. I absolutely love making and being engaged in processes. It takes time but is absolutely worth it. Possibly, in a very fast-paced world in constant change, I wish to hold on to and capture the process of making. → Annemarie completed a two-year course in Art, Craft and Design at Grennan Mill Craft School, Thomastown, Co. Kilkenny in 2012. She received a Bachelor of Metal & Jewellery Design from the National College of Art and Design, Dublin in 2016 and subsequently completed a postgraduate residential course for Silversmithing, Jewellery and Professional Skills at Bishopsland Educational Trust in Reading, UK in 2017. She is currently undertaking the Jewellery and Goldsmithing Skills & Design Course at the Design & Craft Crafts Council of Ireland in Kilkenny.

70 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Bishopsland Educational Trust Retrospective, Reading, UK Craft in Focus, RHS Wisley, UK Inspired, Festival of Silver & Furniture, London, UK Jubilee, Gallery for Jewellery, Pforzheim,Germany 2016 Shine 2016, The Goldsmiths’ Centre, London, UK Christmas at Bishopsland, Bishopsland Educational Trust, South Oxfordshire, UK Discover Hidden Gems, NCAD Graduate Showcase, NCAD, Dublin 2015 Under a Rock, 3rd Year Metal Students, NCAD, Dublin 2013 NCAD Core Exhibition, Mixed Media Student Exhibition, NCAD, Dublin 2012 Grennan Mill Craft School Graduate Show, Grennan Mill Craft School, Thomastown, Co. Kilkenny

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

71 Cara Murphy Metals CARA

Cara Murphy caramurphy.com MURPHY E. [email protected] T. +44 78 1195 8807

Collections and Commissions — Aberdeen Art Gallery, Scotland METALS — Arts Council of Northern Ireland — Arts Council of Ireland — Department of Foreign Affairs and Trade, Ireland — National Museum of Ireland — Queens University Collection, Belfast — St Columb’s Cathedral, Derry — St. Anne’s Cathedral, Belfast Cara Murphy utilises traditional silver- — Shipley Art Gallery, UK — The Silver Trust Collection at smithing techniques to create innovative 10 Downing Street, UK — Ulster Museum, Belfast and sculptural tableware and objects. — Numerous private collections nationally and internationally In 2016, she won the Rosy James Recent Awards Memorial Award, a bursary administered 2018 Arts Council of Northern Ireland Individual by the Arts Council of Northern Ireland Arts Award 2016 Rosy James Memorial Award which enabled her to learn the process 2013 Arts Council of Northern Ireland Individual of vitreous enamelling from her mother, Arts Award 2012 RDS National Crafts Deirdre McCrory, a renowned enameller Competition: Award of Excellence; and printmaker. → Cara’s current California Gold Medal; 1st Prize Gold, Silver work has embraced her new learnings, & Alternative Materials, 2011 Arts Council of resulting in the creation of numerous Northern Ireland Individual Arts Award series of bowls, each bursting with 2008 Major Individual Artist’s Award, Arts Council colours and textures evoking those of Northern Ireland found in the Irish landscape. The bowls are created using the technique of basse taille enamelling and deep drawing. The organic patterns created on the surface of the silver are highlighted by the refraction of light through the coloured enamel. → Cara trained at The Glasgow School of Art, Scotland and the Royal College of Art, London. She is a Freeman of the Worshipful Company of Goldsmiths and works mainly to commission.

72 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Recent/Current Exhibitions 2013 Contemporary Silver, SOLO EXHIBITIONS Christies, London, UK 1997 Metalanguage: Cara Murphy, Culture Craft, London Street Barbican, London, UK Gallery, Derry 1996 New Silverware, Roger Rocks, Goldsmiths Centre, Billcliffe Gallery, Glasgow, London, UK Scotland Future Beauty?, National Craft Gallery, Kilkenny; GROUP EXHIBITIONS AND FAIRS Farmleigh Gallery, Dublin 2019 Surface Matters, Dublin 2012 Royal Ulster Academy Annual Castle; Artesania Catalunya Exhibition, Ulster Museum, CCAM, Barcelona, Spain and Belfast National Design & Craft Fit for Purpose, V&A Museum, Gallery, Kilkenny London, UK COLLECT, with Contemporary RDS National Crafts Applied Arts, London, UK Competition, Dublin 2018 Masterpiece, with Adrian My Place, Bluecoat Display and 2017 Sassoon, London, UK Centre, Liverpool, UK Best of Europe, Homo Faber, 2011 26 Treasures, Ulster Museum, Venice, Italy Belfast The Miniaturists, The Arts Council Collection, Scottish Gallery, Edinburgh, Parliament Buildings, Scotland Stormont, Belfast 2017 Narratives in Making, Thirty, Flowerfield Arts National Craft Gallery, Centre, Antrim Kilkenny and Ruthin PORTFOLIO, National Craft Craft Centre, Ruthin, Wales Gallery, Kilkenny; Farmleigh Global Irish Design Gallery, Dublin Challenge, National Design & 2010 MATERIALpoetry, The American Craft Gallery, Kilkenny Irish Historical Society, New Makers, Contemporary New York, USA Applied Arts, London, UK Contemporary British Jubilee, Gallery for Silversmiths, V&A Museum, Jewellery, Pforzheim, London, UK Germany Objects of Light, Danish Colour Theory, Contemporary Museum of Art & Design, Applied Arts, London, UK Copenhagen, Denmark 2016 Silver Speaks, V&A Museum, PORTFOLIO, National Craft London, UK Gallery, Kilkenny Global Irish Design 2009 Designers and Makers, FE Challenge, Dublin Castle, McWilliams Gallery, Dublin Banbridge, UK 2015 Irish Connection, The Side x Side : Edge > Edge, Scottish Gallery, Edinburgh, Häme Castle, Finland Scotland Object, National Craft PORTFOLIO @ Solomon: Metal Gallery, Kilkenny and Stone, Solomon Fine Art, COLLECT, Saatchi Gallery, Dublin London, UK Side by Side, National Craft A Pinch of Salt, Goldsmiths Gallery, Kilkenny; Centre Hall, London, UK Culturel Irlandais, Paris, 2008 Silver Sounds, Queens France University, Belfast 2014 Murphy Family, The Scottish Connect: Eat and Drink, Gallery, Edinburgh, Scotland Hillsborough Courthouse, PORTFOLIO, RHA, Dublin Belfast Feast of Silver, Fortnum and You’ll Never Walk Alone, Mason, London, UK Bluecoat Display Centre, A Spoonful of Silver, Belton Liverpool, UK; National ↑ House, Lincolnshire, UK Craft Gallery, Kilkenny Sense of place (detail) Hammered, Museet pa 100 small bowls, silver and vitreous Koldinghus, Denmark Gallery Representation enamel, 3cm each Hopeaa ja emalia, Finnish — Adrian Sassoon, London, UK Photographer, David Pauley Craft Museum, Finland — Contemporary Applied Arts, London, UK Hopeaa ja emalia, Höyry- galleria, Finland

73 Cecilia Moore Metals CECILIA

Cecilia Moore ceciliamoore.ie MOORE E. [email protected] Collections and Commissions — AXA Art Collection — Irish Management Institute METALS — National Irish Visual Arts Library (NIVAL) — Office of Public Works, Ireland — Numerous private collections nationally and internationally

Recent Awards 2018 Joint winner of Golden Cecilia Moore’s background is in design, Fleece Award 2016 RDS National Crafts silversmithing and sculpting. She creates Competition – Award for Established Maker in colourful and playful metal forms Silversmithing/Metalwork Thomas Dammann Junior through an ancient and almost obsolete Memorial Trust Award 2014 Top Ten Designers, New process called raising. → My practice Designers Show, London, UK uses a slow, meditative and ancient Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS process of forming hollow vessels from 2019 Surface Matters, Dublin Castle; Artesania Catalunya metal. It is so physically demanding that CCAM, Barcelona, Spain and National Design & Craft each project becomes a deliberate act Gallery, Kilkenny Valcke Art Gallery, Ghent, in making. In theory the form could be Belgium Slip Flux Flock: Intuitive produced using other less demanding Forms, Olivier Cornet Gallery, Dublin means, but it is this physical exertion 2018 Royal Ulster Academy Annual Exhibition, Ulster Museum, and ritual between myself, the metal and Belfast RHA 188th Annual Exhibition, the hammer that is central to my work. RHA, Dublin → Raising starts with a flat disc of metal that is hammered and rotated over a metal former called a stake. This contracts and pushes the metal up to form a hollow shape. As the metal is hammered all over (a round), it hardens and needs to be softened by heating to a dull red with a torch, then cooled before hammering again. Each round pushes the metal only a few millimetres so this process has to be repeated numerous times before the desired shape is reached. The shape then needs to be planished using a flat polished hammer to smooth out the raising hammer marks. This in turn leaves planishing marks so the process is repeated for many rounds, with lighter hammer blows each time. → Cecilia received a Diploma in Silversmithing from Birmingham Polytechnic in 1980 and holds a First Class Honours B Des Metal and an MFA Design (Metal) from NCAD. She is based in Dublin.

74 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

EALAÍN, National Gallery of RDS National Crafts Ireland, Dublin Competition, Dublin: Country Deutschen Goldschmiedehaus, Life Museum, Mayo Hanau, Germany RHA 186th Annual Exhibition, Art at Christmas, Mason, RHA, Dublin Hayes & Curran, Dublin So Fine Art Editions, Dublin Winter Show, Rua Red, Dublin 2015 MFA Fine Art Exhibition, 2017 Geschmiedet/Forged, Galerie NCAD Gallery, Dublin Handwerk, Munich, Germany Oak 2015, Killenure Castle, Narratives in Making, Tipperary National Design & Craft Personal Choice, Gormleys Gallery, Kilkenny and Ruthin Fine Art Gallery, Dublin Craft Centre, Ruthin, Wales 2014 Elke Thonnes & Cecilia Verve, Blue Egg Gallery, Moore, Axis: Ballymun, Wexford Dublin RHA 187th Annual Exhibition, Design Show, NCAD Gallery, RHA, Dublin Dublin RDS National Crafts VUE, National Contemporary Competition Exhibition, Art Fair, RHA, Dublin RDS, Dublin Great Northern Craft Meister der Moderne, Graduate Showcase, Schmuck, Munich, Germany Manchester, UK The Cabinet of Wonders, New Designers, Business Linenhall Arts Centre, Design Centre, London, UK Castlebar, Co. Mayo See the future, Degree Show, 2016 Behämmert, Handwerksform, NCAD, Dublin Hanover, Germany 2013 Éigse, Visual, Carlow Sculpture in Context, Artists’ Books, Wexford Arts National Botanic Gardens, Centre, Wexford Dublin (also 2012, 2013 + 2014)

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

75 Ciarán McGill Furniture CIARÁN

Ciarán McGill Meenadoan, Fintown, Co. Donegal McGILL theveneerist.com E. [email protected] T. +353 86 086 0675

Recent/Current Exhibitions FURNITURE GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2018 House 2018, RDS, Dublin 2017 House 2017, RDS, Dublin Ciarán McGill is a furniture designer- maker who set up his business, The Veneerist, in 2015. He graduated with a distinction in Furniture Design and Manufacture from GMIT Letterfrack in 2012 and subsequently completed a Masters in Furniture Design at London Metropolitan University in 2013. → Ciarán is particularly interested in marquetry, a technique he first encountered at Letterfrack, which involves the intricate cutting and assembling of wood veneer to create decorative panels for furniture. → It is so versatile and has endless possibilities, I like the fact that it can make any piece unique and can be adapted to suit any interior…. The aim with each piece is to use the traditional techniques but create a modern aesthetic. → Once the design has been determined, the drawing is engineered into a file that can be read by laser technology such as AutoCAD. The veneer is selected and then the individual pieces are laser cut and assembled by hand. The final stages of the process involve pressing, sanding, flattening and smoothing until the desired finish is achieved. → As well as creating his own pieces, he regularly works with designers and furniture makers creating cabinet doors, wall panels, table tops and corporate gifts. → Ciarán’s workshop is located on his family’s farm at the foot of the Bluestack Mountains in Co. Donegal.

76 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

77 Cóilín Ó Dubhghaill Metals CÓILÍN

Cóilín Ó Dubhghaill Studio 1, Yorkshire Artspace, Ó DUBHGHAILL 21 Brown Street, Sheffield S12BS, UK coilin.com E. [email protected]

Collections and Commissions METALS — Birmingham Assay Office Collection — Department of Foreign Affairs and — Trade, Ireland — Galeria Sztuki w Legnicy, Poland — Glasgow Cathedral, Scotland — Irish State Art Collection — Marzee Collection, Netherlands — National Museum of Ireland Cóilín Ó Dubhghaill’s research interests — Office of Public Works, Ireland — The Goldsmiths’ Company Collection, focus on the intersection between London, UK — Toride City Collection, Japan traditional craft processes and new — Museums Sheffield, UK — Galway City Museum technologies, exploring the appropriation — Numerous private collections nationally and internationally of industrial technologies for craft Recent Awards production and the development of new 2015 Bavarian State Prize, Germany ways of using traditional craft processes 2009 Arts Council England Grants for the Arts, UK and materials in the production of studio 2008 National Metalwork Design Award (shortlisted), work. → In the Tulipiere series, the Millennium Galleries, Sheffield, UK thin skin of the sheet metal is forged, 2007 Arts and Humanities Research —2010 Council Fellowship, UK stretched, and expanded to form a shape 2007 Sasakawa Foundation grant, Japan from multiple pieces using welding and 2006 Special Merit Award, Golden Fleece, Ireland hammer-forming techniques. In these pieces he uses the forms of tulipiere vases as a starting point for an investigation of form and a reflection on the relationship between object and value. Tulipiere are an intriguing example of specialised product design that originated in the 17th century. Their forms, along with the backdrop of the Dutch Tulip Mania period, interest Cóilín as monuments to excess from an era that parallels more recent fragile economic bubbles. → Cóilín trained at Grennan Mill Craft School, Kilkenny and Edinburgh College of Art, Scotland, graduating in 1996. He worked as a designer for industry in India, the Philippines and the UK. In 2005 he received a doctorate from the metalwork department at the National University of Art and Music, Tokyo Geidai, Japan. Ó Dubhghaill was appointed Senior Research Fellow in the Art and Design Research Centre at Sheffield Hallam University in 2007. He is based in Sheffield, UK.

78 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Recent/Current Exhibitions Lexicon Municipal Gallery, SOLO EXHIBITIONS Dún Laoghaire, Dublin 2016 Cóilín Ó Dubhghaill, Modern Masters, The Scottish Galerie Marzee, Nijmegen, Gallery, Edinburgh Netherlands Aesthetics of Manufacture 2011 Cóilín Ó Dubhghaill, II, Butcher Works, Sheffield Galerie Marzee, Nijmegen, 2014 Vase, Vessel, Void, Oliver Netherlands Sears Gallery, Dublin 2010 Focus, Contemporary Applied COLLECT, Saatchi Gallery, Arts, London, UK London, UK (also 2013, 2012, 2008 Cóilín Ó Dubhghaill, 2011, 2010 and 2006). The Scottish Gallery, 2013 Five into Four, Oliver Sears Edinburgh, Scotland Gallery, Dublin 2006 Cóilín Ó Dubhghaill, Aesthetics of Manufacture, Galerie Marzee, Nijmegen, Butcher Works, Sheffield, UK Netherlands Frame@Schmuck, Internationale Handwerks GROUP EXHIBITIONS AND FAIRS Messe, Munich, Germany 2019 Surface Matters, Dublin Future Beauty, National Castle; Artesania Catalunya Craft Gallery, Kilkenny; CCAM, Barcelona, Spain and Farmleigh Gallery, Dublin National Design & Craft ICON, Brown Thomas, Dublin Gallery, Kilkenny 2012 Out of the Marvellous, Monumentality / Fragility, —2013 National Craft Gallery, National Design & Craft Kilkenny; Solstice Arts Gallery, Kilkenny Centre, Meath; Mermaid Arts 2018 Monumentality / Fragility, Centre, Wicklow Mons Anciens Abbatoir, Mons, 2012 domesticMATTERS, Belgium Contemporary Applied Arts, Melting Point, Makers Guild London, UK Wales, Cardiff, Wales KunstRAI International Art 2017 Forged, Munich, Germany Fair, Amsterdam, The Tresor Contemporary Craft, Netherlands Basel, Switzerland dubh / dialogues In Black, Objets, Mes Amis, Artmonte- The American Irish carlo, Monaco Historical Society, New Collect, London, UK York, USA TASTE at Artgenève, Geneva, 2011 Beneath the Skin, Galerie Switzerland —2012 Marzee, The Netherlands; Mná 2016, Galway City SIA Gallery, Sheffield, UK Museum, Galway 2011 Silverstruck, Ruthin Craft 2017 Narratives in Making, Centre and National Museum National Design & Craft of Wales Gallery, Kilkenny and Ruthin dubh /dialogues In Black, Craft Centre, Ruthin, Wales Oliver Sears Gallery, Dublin 2016 In Residence 2, Oliver Sears 2010 Legnica Copper Ore seminar, Gallery, Six Fitzroy Square, Galeria Sztuki w Legnicy, London, UK Poland Mná, Galway City Museum, PORTFOLIO, National Craft Galway Gallery, Kilkenny 2015 Meister der Moderne, IHM, 2009 KeyPiece, SIA Gallery, Munich, Germany Sheffield, UK The Silversmiths Art, Object, Rotterdam, National Museum of Scotland, The Netherlands Edinburgh 2008 9 Create, The Scottish PORTFOLIO @ Solomon: Metal Gallery, Edinburgh, Scotland & Stone, Solomon Fine Art, Treasures of Today, National Dublin Museum of Ireland ↑ In Residence, Oliver Sears Tulipiere 10 Gallery, Six Fitzroy Square, Gallery Representation nickel-plated copper London, UK — Galerie Marzee, The Netherlands 24 × 26.5 × 27cm Side by Side, Centre — Contemporary Applied Arts, London, UK Photographer, Roland Paschhoff Culturel Irlandais, Paris, France; National Craft Gallery, Kilkenny Finders and Keepers, dlr

79 David McCaul Jewellery DAVID

David McCaul McCaul Goldsmiths, 56 Exmouth Market, McCAUL London, EC1R 4QE, UK mccaul.com E. [email protected] T. +353 87 737 6410 JEWELLERY Recent Awards 2009 Craftsmanship & Design Awards, Goldsmiths’ Craft and Design Council, UK: Gold Award for Fine Jewellery Design; Silver Award for Setting (Senior Level) 2008 RDS National Crafts David McCaul creates handcrafted Competition: First Prize Precious Metal Category; bespoke jewellery pieces using ancient Winner Best Graduate Prize 2006 The Goldsmiths’ and modern techniques. → My jewellery Company: Graduate Bursary is an exploration of line, form and Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS technique. Led by an interest in the 2019 Surface Matters, Dublin Castle; Artesania Catalunya fluidity of natural shapes and asymmetric CCAM, Barcelona, Spain and National Design & Craft curves, I create pieces that celebrate Gallery, Kilkenny 2018 Meet the Maker, Fortnum & the contours of the body. → I employ the Mason, London, UK 2008 Goldsmiths’ Fair, ancient metalwork techniques of either —2017 Goldsmith’s Hall, London, UK 2013 Growing Talent, Goldsmith’s hand forging or lost wax casting. Hall, London, UK 2004 Influence, National Museum Forging highlights the metal’s solidity of Ireland, Collins Barracks, Dublin and ductility allowing me to create Gallery Representation minimalist fluid forms with an inherent — McCaul Goldsmiths, 56 Exmouth Market, London, EC1R 4QE, UK strength. When wax carving, I can directly sculpt shapes into a material which is then cast into precious metal, making every piece one of a kind. → Combining these traditional modes of hand-making with modern processes such as micro-pavé setting and TIG welding has lead me to achieve a distinctive design style. I enjoy pushing the ways of working with metal. My understanding of the material allows me to create both liquid-like and freeform jewellery pieces out of solid precious metal. → David holds a Certificate in Jewellery Production Skills from the Design & Crafts Council of Ireland (2003), a Bachelor of Design from the National College of Art and Design, Dublin (2004), and an MA in Jewellery Design from London Metropolitan University (2008). In 2010, he set up his atelier, McCaul Goldsmiths in Exmouth Market, London with his brother, Barry, where he is now based.

80 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

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

81 Eimear Conyard Metals EIMEAR

Eimear Conyard eimearconyard.com CONYARD E. [email protected] T. +353 87 753 3648

Collections and Commissions — National Museum of Ireland METALS — Ulster Museum, Belfast — Turnov Museum, Czech Republic — Numerous private collections nationally and internationally

Recent Awards 2014 RDS National Crafts Competition: Jewellery I have been predominantly a jewellery Category Winner 2014 RDS National Crafts and timepiece designer since 1995 and Competition: California Gold Medal; this new scale and design of purely Jewellery Precious Metal Category Winner; Jewellery sculptural pieces is a new direction for Alternative Materials Category Winner. my work. I think it is evident however Golden Fleece Award: Shortlisted that these sculptural vessels are 2012 Philadelphia Museum of Art and Design Craft Show: Best made by the hand of a goldsmith with Guest Artist a scale that infers personal belonging. Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS I experiment throughout the making 2019 Surface Matters, Dublin Castle; Artesania Catalunya process to fully exploit the qualities of CCAM, Barcelona, Spain and National Design & Craft the metal and materials. → I have found Gallery, Kilkenny Monumentality / Fragility, this recent design and making process National Design & Craft Gallery, Kilkenny a freeing experience as I did not have to 2018 Monumentality / Fragility, Mons Anciens Abbatoir, Mons, worry about the functionality of the Belgium pieces; they are self-contained sculptural, decorative objects. → I have incorporated keum-boo, an ancient Korean gilding technique, to apply thin sheets of pure gold to the surface of silver vessels that rest on silver and acrylic bases . Metal, colour and material contrasts and combinations will continue to inform my design process and I am energised by these new forms, scale and design possibilities. → Eimear graduated with a Bachelor of Design specialising in Metals from the National College of Art and Design, Dublin in 1995. In 1999, she received a Masters of Design specialising in Jewellery and Silversmithing from The Glasgow School of Art, Scotland. She is Manager of the Design & Crafts Council of Ireland’s Jewellery and Goldsmithing Skills & Design Course and is based in Co. Kilkenny.

82 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Bounded and Unlimited, National Design & Craft Gallery, Kilkenny 2016 Froots & Nogart Gallery, Shanghai, China PORTFOLIO @ Solomon: Jewellery, Solomon Fine Art, Dublin 2015 Beijing International Jewellery Art Exhibition, Beijing, China 2014 RDS National Craft Awards Exhibition, RDS, Dublin and The Hunt Museum, Limerick Irish Designer Goldsmiths, So Fine Art Editions, Dublin Summer Show, Cill Rialaig Arts Centre, Co. Kerry 2013 Amarach, Designworks Studio, Cork Adorn, Inhorgenta International Jewellery Fair, Munich, Germany Future Beauty?, National Design & Craft Gallery, Kilkenny 2012 Museum of Art and Design Craft Show, Philidelphia, USA LOOT, Museum of Art and Design, New York, USA My Place, Bluecoat Display Centre, Liverpool, UK Festival of Irish Design, Project 51, Dublin 2011 Irish Craft Portfolio, RHA, Dublin 21st Century Icons, National Craft Gallery, Kilkenny and Rathfarnham Castle, Dublin Ornament, Rua Red Gallery, Dublin Irish Craft Portfolio, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin 2008 Goldsmith Design and Craft Awards Exhibition, London, UK 2007 Embrace, School of Jewellery, Birmingham, UK and Da Capo Studios, Dublin Turnov Jewellery Symposium, Turnov Museum, Turnov, Czech Republic Silver School, Legnica, Galleria Sztuki, Lodze, Poland ↑ 2006 Adorn, Da Capo Studios, Vortex Dublin silver and 24ct gold vessel Time, Roger Billcliffe resting on a silver, leather and Gallery, Glasgow, Scotland acrylic base, vessel: 8 × 6cm, Piece, National Craft base: 9 × 9cm Gallery, Kilkenny Photographer, Rory Moore 2005 Praxis, Appalachian Centre for Crafts Gallery, Tennessee, USA Object Lessons, School of Jewellery, Birmingham, UK

83 Emma Bourke Glass EMMA

Emma Bourke BOURKE E. [email protected] Collections and Commissions — Mayo County Council — National Museum of Ireland — Corning Museum of Glass, New York, USA GLASS — Numerous private collections nationally and internationally

Recent Awards 2016 Jewellery Designer of the Year, Irish Fashion Innovation 2014 Boris Bally Residency, An awareness of our heritage is REclaim/Repurpose, Culture Craft, Northern Ireland essential for the development of identity Future Makers Practitioner Award, Design & Crafts and the contextualisation of our cultures. Council of Ireland Golden Fleece Award, Merit My research into botanical mythology Prize 2013 Futures Fund, University of assists me in understanding my personal Sunderland, UK John & Elsie Burton identity and enables me to construct Flamework Scholarship, Pilchuck Glass School, USA a sense of place within increasingly 2009 Future Makers Award, Design & Crafts Council of Ireland international systems of communication Recent/Current Exhibitions and visual information. → Storytelling SOLO EXHIBITIONS 2013 Elucidation, Westport Arts is the most common method of passing Festival, Westport Co. Mayo 2012 Flora Lucida, Linenhall Arts on knowledge through generations. Centre, Castlebar, Co. Mayo Glass Flowers, Ards Arts Ethnobotany, which is the scientific Center, Newtownards, Co. Down study of the relationships that exist 2011 Glass Flowers, Customs House Studios, Westport, Co. Mayo between people and plants within Solo Glass Exhibition, Signal Arts Centre, Bray, our culture, forms a large part of the Co. Wicklow narratives of these stories handed down through the ages. Phrases, sayings and customs are an inherent part of community life, but in contemporary society, certain ethnographic aspects of daily life are regularly taken for granted. As an active response to this, my research and work in glass intentionally draws upon the stories and legends about plants as my main resource. → Recreating the physical form of the plants in another material is a further method of investigation. The process of flameworking a foxglove in glass means I am scrutinising the physicality, scale and fragility of the organic object. → Emma graduated from the National College of Art and Design, Dublin in 2009 with a BDes Honours in Craft Design: Glass. She went on to receive a Masters in Fine Art: Glass from the University of Sunderland, UK in 2013. She is based in Westport, Co. Mayo.

84 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2010 Solo Glass Exhibition, Alley Arts & Conference Centre, Strabane, Co. Tyrone

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

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

85 Grainne Watts Ceramics GRAINNE

Grainne Watts grainnewattsceramics.com WAT TS E. [email protected] T. +353 87 977 5335

Collections and Commissions — Design & Crafts Council CERAMICS of Ireland — Numerous private collections nationally and internationally

Recent Awards 2017 RDS National Crafts Competition: California Gold Medal; Established Maker Grainne Watts’ current work features Award; Ceramics Category Winner a collection of thrown vessels and 2014 RDS National Crafts Competition: Ceramics a series of sculptural forms in porcelain Category Winner; Ceramics Ireland Award; Design & and stoneware. She is inspired by the Crafts Council of Ireland Purchase Award natural world, the landscape around her Winner of the Dublin Airport Authority commission to and nature photography. Over the years, design the Allianz Business to Arts Award Grainne has cultivated a visual and 2013 Mill Cove Gallery Award of Excellence tactile vocabulary that feeds into the 2012 Peter Brennan Pioneering Award development of her ideas and reflects Recent/Current Exhibitions her deep interest in colour, texture, form GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin and elements of humour. → My making Castle; Artesania Catalunya CCAM, Barcelona, Spain and process involves numerous steps. National Design & Craft Gallery, Kilkenny Initially, I do a series of drawings, 2018 Ceramic Art London, London, UK exploring ideas with form and surface A Pot in the Hand, The Roundhouse Gallery, treatments. I then create small versions Derbyshire, UK of the piece and these are then used to experiment with colour combinations and surface detail. I want my work to evoke an emotional and sensory response and pursue this in my choice of form, refinement of the surface quality and use of vibrant colour that stimulates the viewer. → Grainne graduated from the National College of Art and Design, Dublin in 1982. She subsequently completed a two-year apprenticeship with Geoffrey Healy Pottery. She is currently based in Co. Wicklow.

86 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Clay/Works, The Printworks, Dublin Castle, Dublin (and 2017) Sculpture in Context, National Botanic Gardens, Dublin 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales A vase is a vase is a vase, AD Gallery, Antwerp, Belgium Touchstone, Farmleigh Gallery and National Design & Craft Gallery, Kilkenny 10th Irish Ceramic Awards Exhibition, Mill Cove Galleries; Kerry & Cork RDS National Crafts Competition Exhibition, RDS, Dublin Ceramics Ireland Selected Exhibition, Rathfarnham Castle, Dublin Verve, Blue Egg Gallery, Wexford Vase: Function Reviewed, Farmleigh Gallery, Dublin 2016 Vase: Function Reviewed, National Design & Craft Gallery, Kilkenny Irish Contemporary Ceramics, The Barony Centre, West Kilbride, Scotland Sculpture In Context, National Botanic Gardens, Dublin 2015 International Symposium exhibition, Keramik Museum, Berlin, Germany PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin Ceramics Ireland Selected Exhibition, The Pearse Museum, Dublin 2014 PORTFOLIO, RHA, Dublin Centred, Farmleigh Gallery, Dublin Colour Vision, Blue Egg Gallery, Wexford 2013 Sculpture In Context, National Botanic Gardens, Dublin Ceramics Ireland Selected Exhibition, The Pearse Museum, Dublin

↑ Gallery Representation ‘ Ink Sky’ Bindu vessel — Bils & Rye, York, UK and ‘Ink Sky’ Bindu vessel (detail) — Vanbrugh West Antiques, London, UK stoneware clay and underglazes — SO Fine Art Editions, Dublin 54 × 28cm — Millcove Galleries, Cork and Kerry Photographer, Roland Paschhoff — The Blue Egg Gallery, Wexford — The Quay Gallery, Westport, Mayo — Ardmore Gallery, Waterford

87 Jack Doherty Ceramics JACK

Jack Doherty dohertyporcelain.com DOHERTY E. [email protected] T. +44 77 6633 4917

Collections and Commissions — Castle Museum, Nottingham, UK CERAMICS — Ceramics Museum, Faenza, Italy — Cheltenham Art Gallery & Museum, UK — Irish Contemporary Ceramic Collection, Hunt Museum, Limerick — Museum of Liverpool, UK — National Museum of Ireland — Princeshof Ceramics Museum, The Netherlands Jack Doherty’s work is a physical — Mashiko Museum of Ceramic Art, Japan — The Potteries Museum & Art Gallery, and visual response to the landscape. Stroke–on–Trent, UK — Ulster Museum, Belfast His work looks back to prehistory and — Numerous private collections nationally and internationally the forms of the archetypal vessels Recent Awards used for storing, holding and preserving. 2016 Janet Mansfield Memorial Award He considers our need for clay objects Recent/Current Exhibitions and their changing role in a contemporary SOLO EXHIBITIONS 2018 Grounding, New Craftsman world. → Grounding, his latest series of Gallery, St Ives, UK Grounding vessels from the work, is inspired by journeys from his land the sea and the sky, National Taiwan University, Cornwall home to Ireland, Japan and Taipei, Taiwan Vessels from Grass Mountain, China. The vessels have their roots in soil, URS 27M Gallery, Taipei, Taiwan nourished by a personal connection to 2017 Living Space, Beaux Arts Bath place. Somehow the sea, sky and land Solo exhibition, Mashiko Museum of Ceramic Art, Japan have infiltrated the work.→ Jack has Living Space, Contemporary Ceramics Centre, London, UK steadily refined his technical process using only one clay, one colouring mineral and a single firing. This has given him the opportunity to engage closely and physically with the making, and particularly with the soda firing. These elemental ceramic forms are layered with aesthetic, visceral and spiritual meaning. → Doherty studied ceramics at the Ulster College of Art and Design before working as a potter at Kilkenny Design Workshops. His first workshop was in Co. Armagh. He subsequently moved to live and work in Herefordshire, UK. From 2008 to 2013 he was the first Lead Potter and Creative Director at the refurbished Leach Pottery in St. Ives. He now works independently from his studio in Mousehole, Cornwall, UK.

88 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

New work, Biotop Gallery, Weathering, TENT London, UK Tokyo & Osaka, Japan and Ullens Contemporary Art 2016 Waypoint, Market Place Centre, Bejing, China Gallery, Co. Armagh and Centred, Farmleigh Gallery, The Scottish Gallery, Dublin Edinburgh, Scotland Interplay, SO Fine Art Living Space, Gallery St. Editions, Dublin Ives, Tokyo, Japan Vue & PORTFOLIO, RHA, Dublin 2015 Waypoint, New Craftsman 2013 Moon Jar: Contemporary Gallery, St Ives, UK Translations, Korean Beaux Arts Gallery, Bath, UK Cultural Centre, London, UK 2014 Harbouring; Newlyn Art Ceramics Now, New Ashgate Gallery, Cornwall, UK and Gallery, Farnham, UK Brook St Gallery, Hay-on- COLLECT, National Craft Wye, Herefordshire, UK Gallery, Kilkenny; Saatchi 2012 A Place in the World, Garden Galleries London, UK House, Cornwall, UK Future Beauty?, National New Craftsman, St. Ives, Craft Gallery, Kilkenny and Cornwall, UK Farmleigh Gallery, Dublin 2010 Pure Simplicity, 2012 Jack Doherty & Tomoo Hamada, National University, Taipei, Gallery St. Ives, Tokyo, Taiwan Ormeau Baths Japan Gallery, Belfast 2011 transFORM, Farmleigh 2009 Jack Doherty, National Craft Gallery, Dublin and Gallery, Kilkenny Millennium Court Arts 2007 Contemporary Ceramics Centre, Co Armagh Gallery, London, UK 2010 Tea Vessels, Mitzukoshi Gallery, Tokyo, Japan GROUP EXHIBITIONS AND FAIRS European Ceramic Context, 2019 Surface Matters, Dublin Bornholm, Denmark Castle; Artesania Catalunya 2009 Pots For Light, Galerie CCAM, Barcelona, Spain and Besson, London, UK National Design & Craft Gallery, Kilkenny 2018 Modern Masters, Munich, Germany International Chawan, Stratford Gallery, Stratford upon Avon, UK Ceramic Art London, London, UK (since 2004) 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Wales Touchstone, National Design & Craft Gallery, Kilkenny 2016 Made, Yorkshire Sculpture Park, Bretton Hall, Yorkshire, UK Transformed In Fire, Gallerytop, Derbyshire, UK Ó, Tent London, Old Truman Brewery, London, UK Art Fair Tokyo, Japan 2015 Side by Side, National Craft Gallery, Kilkenny and Centre Culturel Irlandais, Paris ↑ The Irish Connection, The Guardian Vessel Scottish Gallery, Edinburgh, porcelain, clay, copper Scotland 43cm high 2014 Into The Field, The Model, Photographer, Roland Paschhoff Contemporary Arts Centre, Sligo

89 Jennifer Hickey Ceramics JENNIFER

Jennifer Hickey jenniferhickey.com HICKEY E. [email protected] Collections and Commissions — National Museum of Ireland — Office of Public Works, Ireland CERAMICS — Numerous private collections nationally and internationally

Recent/Current Exhibitions SOLO EXHIBITIONS 2013 Solo Exhibition, Rudolf Heltzel, Kilkenny Jennifer Hickey makes hundreds of petal- GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin like ceramic pieces that are then stitched Castle; Artesania Catalunya CCAM, Barcelona, Spain and with translucent thread to form her National Design & Craft Gallery, Kilkenny sculptures. She is drawn to the beauty 2018 Fired Earth, The Scottish Gallery, Edinburgh, Scotland and subtlety of the natural world. Themes Best of Europe, Homo Faber, Venice, Italy of fragility, ephemerality and translucency The Miniaturists, The Scottish Gallery, Edinburgh, are central to her work. Rituals of making; Scotland EALAÍN, National Gallery physical rhythms, process and time of Ireland, Dublin Winter White, Taste involved are central aspects to her Contemporary, Geneva, Switzerland practice. The slowness and repetition 2018 Touchstone, Farmleigh —2017 Gallery Dublin and in her making process are essential National Design & Craft Gallery, Kilkenny components of her finished forms. 2017 Narratives in Making, National Craft Gallery, → I work from a small garden studio Kilkenny and Ruthin Craft Centre, Wales in my Dublin home. I use mainly 2016 East and West, Seoul, South Korea porcelain because of its texture, colour and translucency. Each work I make is unique, so the surface quality differs from piece to piece. I make hundreds of thin porcelain pieces that I form by hand, pierce and fire to 1260°. After the firing, I hand sew each piece with translucent thread onto a fine tulle to create a larger sculptural form. It can take months to complete a sculpture. → Hickey graduated from the National College of Art and Design, Dublin in 2002 with a BDes in Ceramics. She is based in Dublin.

90 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2015 Finders and Keepers, Municipal Gallery, Dublin PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin Centred, Wandesford Quay Gallery, Cork; Farmleigh Gallery, Dublin 2014 Generation, NCAD Gallery, Dublin 2013 PORTFOLIO, RHA, Dublin Future Beauty?, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin Icon, Brown Thomas, Dublin Collect, Saatchi Gallery, London Made on Monday 3, Block T, Dublin 2012 PORTFOLIO, RHA, Dublin 2011 TransFORM, Farmleigh Gallery, Dublin; Millennium Court Arts Centre, Armagh; The Source Arts Centre, Tipperary 2010 Winter Group Show, The Peppercanister Gallery, Dublin Made on Monday, The Complex, Smithfield, Dublin Summer Group Show, The Peppercanister Gallery, Dublin Sculpture in Context, National Botanic Gardens, Dublin Sonja Landweer and Jennifer Hickey, The Peppercanister Gallery, Dublin 2008 Made on Monday, Broadstone Exhibition Space, Dublin

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

91 Joe Hogan Basketry JOE

Joe Hogan Loch Na Fooey, Finny, Clonbur, HOGAN Co. Galway joehoganbaskets.com E. [email protected] T. +353 94 954 8241 BASKETRY Collections and Commissions — Boston College, USA — Collection of the Government of India — Department of Foreign Affairs, and Trade, Ireland — Limerick City Art Gallery — Office of Public Works, Ireland — Pinolere Baskets of the World I became a basketmaker because I was Collection Canary Islands — Quinnipiac Famine Museum, USA attracted to the idea of growing my own — Ulster Museum, Belfast — Vissinggaard Museum, Denmark willow and being involved in the whole — Numerous private collections nationally and internationally process; from harvesting willow through Recent Awards to making a basket. → Although I made 2018 Loewe Craft Prize Finalist 2015 RDS National Crafts functional baskets for many years, Competition: California Gold Medal; Award of Excellence I have, over the past fifteen years 2012 Selected for Living Legend programme, World Crafts become increasingly interested in Council Summit, Chennai, India making artistic or sculptural baskets. 2008 RDS National Crafts Competition: Reserve Award This work is prompted by a desire to 2007 Don Juan Gonzalez Farina Award, Spain develop a deeper connection to the 2006 Bursary Award Winner (Joint),Crafts Council of natural world. Every time we walk out Ireland into the world we have the opportunity Recent/Current Exhibitions SOLO EXHIBITIONS to see it anew and to experience the 2018 Learning from the Earth, The Scottish Gallery, wonder of being here. Rilke talks about Edinburgh, Scotland us being “the bees of the invisible”, gathering the honey of the visible and storing it in the hive of our consciousness. When I make artistic baskets I am trying to rediscover the richness in this store of images. I also hope it will touch the spirit of others in some way. → I am also influenced by environmental concerns and feel that the changes we need to make as a race will become possible only when we go beyond a merely rational analysis and begin to encompass the worlds of poetry and art to imagine new and more responsible ways of being in the world. My practice revolves around using basketry skills to express these ideas. → Joe works from his studio in Connemara, Co. Galway. He teaches basketmaking skills and has written three books on the craft, Basketmaking in Ireland (2001), Bare Branches, Blue Black Sky (2011) and Learning from the Earth (2018).

92 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2014 Woven Wild, The Scottish PORTFOLIO @ Solomon: Gallery, Edinburgh, Scotland Basketry & Woodturning, 2012 Tradition and Innovation, Solomon Fine Art, Dublin Dungarvan Arts Centre, Co. Joe Hogan and Akiki Hirai, Waterford Oxford Ceramics Gallery, UK 2011 Bare Branches, Blue Black To Capture Silence, The Sky; Garter Lane Arts Source Arts Centre Gallery, Centre, Waterford; Tipperary The Scottish Gallery, Basket Identity, Riverhouse Edinburgh, Scotland; Aras Gallery, West Sussex; Eanna Arts Centre, Galway; SO Fine Art Editions, Dublin Dunamaise Arts Centre, Laois 2014 Common Ground, Oxford 2008 Wood meets Willow, Linen Ceramics Gallery, UK Hall Arts Centre, Mayo Taste Contemporary Craft, 2005 Weaving the Harvest, Gallerie Blondeau, Geneva Grennan Mill, Kilkenny Fibre Biennial, Snyderman Works Gallery, Philadelphia, GROUP EXHIBITIONS AND FAIRS USA 2019 Surface Matters, Dublin CultureCRAFT, National Craft Castle; Artesania Catalunya Gallery, Kilkenny CCAM, Barcelona, Spain and Materialisation: Mapping the National Design & Craft Making, VISUAL Carlow, Gallery, Kilkenny Carlow Monumentality / Fragility, Summer Show, Cill Rialaig National Design & Craft Arts Centre, Kerry Gallery, Kilkenny Material Subversion, 2018 Monumentality / Fragility, Naughton Gallery, Queens Mons Anciens Abbatoir, Mons, University, Belfast Belgium This Beloved Earth, The Loewe Fashion Show, Spring/ Barony Centre, North Summer 2019, UNESCO, Paris, Ayrshire, Scotland France 2013 Out of the Marvellous, Best of Europe, Homo Faber, National Craft Gallery, Venice, Italy Kilkenny; Solstice Arts RHA 188th Annual Exhibition, Centre, Navan; Mermaid Arts RHA, Dublin Centre, Wicklow Wood and Willow, Blue Egg Future Beauty?, National Gallery, Wexford Craft Gallery; Farmleigh Loewe Craft Prize, Design Gallery, Dublin Museum, London, UK COLLECT, Saatchi Gallery, 2017 Narratives in Making, London, UK (also 2010 and National Design & Craft 2009) Gallery, Kilkenny and Ruthin Nature in Craft, Wayne Arts Craft Centre, Ruthin, Wales Centre, Philadelphia, UK Kogei Craft Trienale, Bare Stems, Dartington Hall, Kanazawa, Japan Devon, UK RHA 187th Annual Exhibition, ICON, Brown Thomas, Dublin RHA, Dublin Making and Drawing, The Elements: The Beauty of Harley Gallery, Imperfection, Curated by Nottinghamshire, UK Sarah Myerscough, 2012 Vessels, Cill Rialaig Arts Gloucestershire & London, UK Centre, Kerry Lost and Found, Oxford RHA Annual Exhibition, RHA Ceramics Gallery, Oxford, UK Gallery, Dublin 2016 Modern Masters/Meister der Baskets, Old and New Moderne, Munich, Germany Masters, Landskrona Museum, RHA 186th Annual Exhibition, Sweden RHA, Dublin Made by Hand, Moulshams ↑ Garden, Walford Mill Crafts Manor, Essex, UK Extra large pod on ash wood Centre, UK 35 years Galerie Ra, Galerie and pod with field stone, Ex Libris 2, The Scottish Ra, Amsterdam, The the first born of two sisters Gallery, Edinburgh, Scotland Netherlands willow rods, ash wood, stones 2015 Side by Side, National Craft Object, Rotterdam, The and bark, 136 × 146 × 148cm Gallery, Kilkenny; Centre Netherlands and Frame and 43 × 49 × 57cm Culturel Irlandais, Paris, Munich, Germany Photographer, Michael McLaughlin France

93 John Lee Furniture JOHN

John Lee Pagestown, Maynooth, Co. Meath LEE johnleefurniture.com E. [email protected] T. +353 1 505 4660

Collections and Commissions FURNITURE — National Museum of Ireland — Office of Public Works, Ireland — Commission for new Irish Presidential Inauguration Chair, Áras an Uachtaráin (2011) — Commission for President of Ireland, Mary McAleese, Áras an Uachtaráin (2008 + 2009) John Lee is inspired by naturally — Numerous private collections nationally and internationally occurring geometric forms and the Recent Awards effects of weathering and erosion. 2017 Winner, Golden Fleece Award 2015 RDS National Crafts Working with hardwoods such as oak, Competition: Furniture Award Irish Design 2015 Award for and ash, his current work explores the Excellence and Innovation in Craft enhancement of timber’s natural Recent/Current Exhibitions properties, while experimenting with GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin form, function and finish. Aiming to Castle; Artesania Catalunya CCAM, Barcelona, Spain and give his furniture a sensual appeal, National Design & Craft Gallery, Kilkenny he investigates textured finishes by 2017 Narratives in Making, National Design & Craft exposing the timber’s natural grain Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales patterns on his free-flowing dynamic 2015 PORTFOLIO @ Solomon: Furniture, Solomon Fine Art, forms. An underlying trait of his work Dublin RDS National Craft Awards is the use of contrasting smooth and Exhibition, RDS, Dublin 2013 Future Beauty?, National textured surfaces. The aesthetic of Craft Gallery, Kilkenny his work is often inspired by natural landscapes and coastlines, as is the case with Lillias and Sliabh. → A regular feature of my work is the use of textured surfaces. This involves sandblasting the piece with a large industrial sandblaster which I undertake in my spray booth. Sandblasting is quite a tedious and messy process but I love how it exposes and highlights the natural grain patterns in the wood. The final process is to seal the wood, usually with a dead matte lacquer. → John graduated from the Bachelor of Furniture Design and Manufacture Course, GMIT Letterfrack, Co. Galway in 1993. He received a Bursary Award from the Design & Crafts Council of Ireland in 2011 and used this to complete a course in AutoCAD and 3D Design. He is based in Co. Meath and works mainly to commission.

94 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2012 From Table to Wall, Flow Gallery, London, UK Design Miami / Basel, Nilufar Gallery, Basel, Switzerland PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin; RHA Gallery, Dublin 2011 PORTFOLIO, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin; RHA, Dublin 2005 Interior Design & Art Fair, —2010 RDS, Dublin 2010 COLLECT, Saatchi Gallery, London, UK Designers and Makers, FE McWilliam Gallery, Banbridge, Co. Down 2009 100% Design, Earls Court, London, UK, Organic Geometry, National Craft Gallery, Kilkenny 2008 SOFA Chicago, USA Ecology, Mythology, Technology, Farmleigh Gallery, Dublin 2007 Ecology, Mythology, Technology, National Craft Gallery, Kilkenny

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

95 Joseph Walsh Furniture JOSEPH

Joseph Walsh Fartha, Riverstick, Co. Cork WALSH josephwalshstudio.com E. [email protected] T. +353 21 477 1759

Collections and Commissions FURNITURE — Centre Pompidou, Paris, France — Cooper Hewitt Smithsonian Design Museum, New York, USA — Devonshire Collection, Chatsworth House, UK — Embassy of Japan, Dublin — John H Bryan Collection, Illinois, USA — Lord and Lady Harrington Collection, Joseph Walsh creates innovative, London, UK — Museum of Arts and Design, sculptural furniture works. His approach New York, USA — National Museum of Ireland to design and process is influenced by — Rafael Vinoly, Uruguay — Sacred Heart Church, Minane Bridge, the patterns of growth and evolution Co. Cork — St Mary’s Church, Innishannon, found in nature. He states that his practice Co. Cork — Mint Museum, Charlotte, is informed by the understanding and North Carolina, USA — Ulster Museum, Northern Ireland sympathetic use of material; the intimate — DaLisca Family Church, Verona, Italy — National Gallery of Ireland relationship between the process of — Tsubaki Grand Shrine, Japan finding forms and creating structures Recent/Current Exhibitions SOLO EXHIBITIONS and the continuity and resolve from the 2018 Rinn, Yufuku Gallery, Sogetsu Arts Centre, concept to the making process. → In the Tokyo, Japan 2017 Joseph Walsh Exhibition, Enignum series of work, I have stripped Yufuku Gallery, Tsubaki Shrine, Suzaka, Japan wood into thin layers, manipulating Reveal, American Irish Historical Society, and reconstructing them into free form New York, USA compositions. I then shape through these layers to reveal not only the honesty of the structure, but the sculpted form which is a unique collaboration of man and material. The title derives from the Latin words Enigma (‘mystery’) and Lignum (‘wood’). For me, they sum up the series — the mystery of the composition lies in the material. → Joseph is a self-taught designer-maker. His studio and workshop, which employs a team of master makers, design technicians and their assistants, was founded in 1999 and is based in Co. Cork.

96 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2014 Joseph Walsh, The Roche Museum of Art Fort Court Educational Trust, Lauderdale, Museum of Art New Art Centre, UK and Design & Mint Museum Lilium, Oliver Sears Uptown, USA Gallery, Dublin Cheongju International 2011 ENIGNUM and other stories, Craft Biennale, Cheongju, Oliver Sears Gallery, Dublin South Korea 2008 Realisations, American Irish Modern Makers, Chatsworth Historical Society, House, Derbyshire, UK New York, USA Salone del Mobile, Nilufar Gallery at Palazzo Durini, GROUP EXHIBITIONS AND FAIRS Milan, Italy 2019 Surface Matters, Dublin Design Days Dubai, Nilufar Castle; Artesania Catalunya Gallery, Dubai, UAE CCAM, Barcelona, Spain and 2012 dubh — dialogues in black, National Design & Craft American Irish Historical Gallery, Kilkenny Society, New York, USA 2018 Earth, Wind & Fire, 2011 Black & White, Oliver Sears Crawford Art Gallery, Cork Gallery, Dublin 2017 Narratives in Making, Design Miami / Basel, National Craft Gallery, Nilufar Gallery, Basel, Kilkenny and Ruthin Craft Switzerland Centre, Ruthin, Wales Pavilion des Art et Making/Breaking, Cooper du Design, Nilufar Gallery, Hewitt Museum, New York, USA Paris, France Design Miami/Design Basel, Salone de Mobile, Milan, with Sarah Myerscough Italy Gallery, Miami, USA COLLECT, Saatchi Gallery, Design Basel, with Sarah London, UK Myerscough Gallery, Basel, dubh — dialogues in black, Switzerland Oliver Sears Gallery, Dublin PAD, with Sarah Myerscough 2010 MATERIALpoetry, The American Gallery, London, UK Irish Historical Society, The Salon Art + Design, with New York, USA Sarah Myerscough Gallery, PORTFOLIO, National Craft New York, USA Gallery, Kilkenny 2016 Masterworks, Long House Pavilion of Art & Design, Reserve, East Hampton, Todd Merrill Studio New York Contemporary, London, UK Royal Academy Summer Design Miami, Florida, USA Exhibition, London, UK 2009 Pavilion of Art & Design, 2015 Objects in Flux, Museum London, UK of Fine Arts, Boston, USA Grassimesse, Grassimuseum, Make Yourself Comfortable, Leipzig, Germany Chatsworth, UK Design Miami / Basel, Side by Side, National Craft Messe, Basel, Switzerland Gallery, Kilkenny; 2008 SOFA Chicago, USA Centre Culturel Irlandais, (also 2007 and 2006) Paris, France Ecology, Mythology, 2014 The Salon: Art + Design, Technology, Farmleigh Todd Merrill Contemporary Gallery, Dublin Studio, New York, USA 2007 Contemporary Irish Design Show, The New Art Decorative Objects & Centre, Artist House, Roche Furniture, La Gallerie Court, UK SEMA, Paris, France Collective 2, Skylight at Moynihan Station, NY, USA Gallery Representation 2013 Against the Grain: Wood in — Dommus series represented by Sarah ↑ Contemporary Art and Craft, Myerscough Gallery, London, UK Rinn Enignum Shelf ash, bleached finish 51 × 220 × 270cm Photographer, Andrew Bradley

97 Mike Byrne Ceramics MIKE

Mike Byrne mikebyrne.ie BYRNE E. [email protected] Collections and Commissions — AIB Bank — Áras an Uachtaráin CERAMICS — Glór, Ennis, Co. Clare — Limerick Chamber of Commerce — Limerick City Gallery of Art — Mary Immaculate College — Office of Public Works, Ireland — Price Waterhouse — Ulster Museum — University of Limerick I have always been interested in — Numerous private collections nationally and internationally domestic ceramics, more specifically Recent/Current Exhibitions the jug, the archetypical domestic SOLO EXHIBITIONS 2018 Into the Half Light, object. I use it to explore the edges of, Custom House Gallery and Studios, Westport, Co. Mayo and the connections between design, 2008 Orto Botanico, Limerick Printmakers, Limerick function, narrative and art. The use of 2005 16 large format woodcuts, Murray O’Laoire Architects, a combination of fired clay and other Gerard Griffin Street, Limerick materials, both found and worked, and 2004 Urbs Antiqua, New woodcuts, —2005 University of Limerick the freedom to play fast and loose with 2003 Skies Over Venetia and other Vistas, Glór, Ennis, the elements, is an attempt to erode the Co. Clare 2001 MA Show, Limerick City Hall boundaries between these disciplines. GROUP EXHIBITIONS AND FAIRS The way in which we consider familiar 2019 Surface Matters, Dublin Castle; Artesania Catalunya objects and their various relationships CCAM, Barcelona, Spain and National Design & Craft with symbolism, ceramic history and Gallery, Kilkenny Valcke Art Gallery, Ghent, material culture is also part of the Belgium exploration. → Each structured piece is slab built, with surface patina resulting from multiple layers of engobe. Numerous firings take place until the desired depth of surface colour and texture is reached. → Mike graduated from the Ceramics Course at Limerick School of Art and Design in 1977, followed by a period working as a designer in the Kilkenny Design Workshops. In 1979 he returned to Limerick, setting up a small industrial production unit. His strong interest in printmaking culminated in completing a Fine Art MA in 2001. Having lectured throughout his career he went on to become Course Leader of the Ceramics Design Course at Limerick School of Art & Design, recently retiring in 2016. He is based in Limerick City.

98 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2018 Blurring the Edge, Hunt Museum, Limerick Ceramics Ireland Annual Selected Members Exhibition, Rathfarnham Castle, Dublin 2017 Vase: Function Reviewed, Farmleigh Gallery, Dublin Touchstone, Farmleigh Gallery and National Craft Gallery, Kilkenny Jugs, Blue Egg Gallery, Wexford Ceramics Ireland Open, The Printworks, Dublin Castle Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 Irish Contemporary Ceramics, Barony Centre, Scotland Ceramics Ireland Open, Farmleigh Gallery, Dublin RDS National Craft Competition Exhibition, RDS, Dublin; National Museum of Country Life, Mayo Vase: Function Reviewed, National Craft Gallery Kilkenny 2015 PORTFOLIO @ Solomon: Ceramics, Solomon Fine Art, Dublin The Art of the Potter, Cill Rialaig, Kerry CREATE, Brown Thomas, Dublin Limerick Printmakers, Hunt Museum, Limerick 2014 Irish Ceramic Awards, Mill Cove Gallery, Co. Cork Culture of Clay, Hunt Museum, Limerick 2013 Open submission ’13, Limerick Printmakers, Limerick 2012 Islands, Custom House Gallery, Westport, Co. Mayo Open submission ’12, Limerick Printmakers, Limerick Limerick Printmakers Studio and Gallery Exhibition, Kulturwerk des bbk, Berlin, Germany 2009 X, A collaborative Box Set Project, Limerick Printmakers and RTÉ Lyric FM, Limerick 29th Mini Print ↑ International, Cadaqués, On best behaviour (detail) Spain fired clay, 46 × 36 × 14cm Burst Into Bloom, Glór Photographer, Roland Paschhoff Gallery, Ennis, Co. Clare

Gallery Representation — SO Fine Art Editions, Dublin

99 Nuala O’Donovan Ceramics NUALA

Nuala O’Donovan nualaodonovan.com O’DONOVAN E. [email protected] T. +353 87 641 3651

Collections and Commissions — National Museum of Ireland CERAMICS — Ulster Museum, Northern Ireland — Cork Institute of Technology, Cork — Numerous private collections nationally and internationally

Recent Awards 2017 Golden Fleece Award — Merit Prize I make sculptural pieces based on the 2011 Golden Fleece Award — Merit Prize geometry of natural forms. I currently 2010 RDS National Crafts Competition: First Prize use porcelain as my main material. Contemporary Ceramics 2009 RDS National Crafts The sculptural forms are constructed Competition: First Prize Contemporary Ceramics; slowly over a period of weeks or months, Ceramics Ireland Award and Design & Crafts Council of and fired a number of times during the Ireland Purchase Award 2010 Golden Fleece Award — making process. → My work combines Shortlisted regular pattern with the characteristics Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS of fractal forms from nature. The finished 2019 Surface Matters, Dublin Castle; Artesania Catalunya forms are a result of an intuitive response CCAM, Barcelona, Spain and National Design & Craft to the direction that the pattern takes as Gallery, Kilkenny Particle and Wave, Arizona well as the irregularity in the handmade State University Museum (and touring), USA elements of the pattern. → I am interested 2018 Earth, Wind & Fire, Crawford Art Gallery, Cork in the contrasts and similarities between Best of Europe, Homo Faber, Venice, Italy traditional Western aesthetics, which sought to portray beauty through classical geometry, and Eastern/Buddhist aesthetics of beauty, which celebrate the imperfection. I feel that the common area recognised by both of thesetraditions lies between classical symmetry in regular geometry and the characteristic of self-similarity in irregular geometry, that is; the beauty of harmonious form created by the repetition of proportion. → Nuala completed a BA in Three Dimensional Design at Middlesex University, UK in 1994. In 2008, she received an MFA in Ceramics from Crawford College of Art and Design, Cork. She lives and works in Cork.

100 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

The Maker’s Hand, RDS, Dublin EALAÍN, National Gallery of Ireland, Dublin 2017 Touchstone, Farmleigh —2018 Gallery Dublin and National Design & Craft Gallery, Kilkenny 2017 They’re Fired!, Bernice Steinbaum Gallery, Florida, USA Shadow of Sodeisha, National Museum of Ireland, Dublin RHA 187th Annual Exhibition, RHA, Dublin TASTE at Artgenève, Geneva, Switzerland 2016 In Residence 2, Oliver Sears Gallery, Six Fitzroy Square, London, UK 2015 In Residence, Oliver Sears Gallery, Six Fitzroy Square, London, UK Absence of Colour, Tansey Contemporary, New Mexico, USA DESIRE PATHS, ARTHOUSE1, London, UK Sculpture As Textile, Bluecoat Arts Centre, Liverpool, UK Centered, Farmleigh Gallery, Dublin and Wandesford Quay Gallery, Cork 2014 SOFA Chicago, with Tansey —2015 Contemporary, Chicago, USA 2014 Royal Ulster Academy Annual Exhibition, RUA, Belfast 2013 EnArt, Taichung & Taipei, —2014 Taiwan 2013 Five into Four, Oliver Sears Gallery, Dublin 2012 Royal Academy Summer —2013 Exhibition, London, UK 2012 dubh — dialogues in black, American Irish Historical Society, New York, USA SOFA, New York, USA COLLECT, London, UK (also 2010) Ceramic Art London, London, UK (also 2011 and 2010) 2011 dubh — dialogues in black, Oliver Sears Gallery, Dublin 2011 TransFORM, Farmleigh Gallery, Dublin Talking in Clay, The Courtyard, Herefordshire ↑ Centre for the Arts, UK Teasel, Time (detail) 2010 MATERIALpoetry, American porcelain, 62 × 38 × 32cm —2011 Irish Historical Society, Photographer, Janice O’Connell New York, USA at f22 Photography 2010 RHA 180th Annual Exhibition, RHA, Dublin 2009 RHA 179th Annual Exhibition, RHA, Dublin

101 Roger Bennett Wood ROGER

Roger Bennett rogerbennettwoodturner.com BENNETT E. [email protected] T. +353 87 056 7896

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

102 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2018 Small Treasures and Turned and Sculpted Wood, Wood Symphony Gallery, Los Angeles, USA 2018 Spring Exhibition, Stour Gallery, Shipston-on-Stour, UK 2018 The Maker’s Hand, RDS, Dublin 2017 Narratives in Making, National Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 Up Front, Craft Centre & Design Gallery, Leeds, UK Focus on Wood, Cill Rialaig Arts Centre, Kerry 2015 Side by Side, National Craft Gallery, Kilkenny; Centre Culturel Irlandais, Paris, France The Irish Connection, The Scottish Gallery, Edinburgh, Scotland PORTFOLIO @ Solomon: Basketry & Woodturning, Solomon Fine Art, Dublin Greenacres Opera Festival Exhibition, Wexford 2014 Is it wood?, Ruthin Craft Centre, Wales Bravura, Blue Egg Gallery, Wexford 2013 Future Beauty?, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin 2012 My Place, Bluecoat Display Centre, Liverpool, UK Vessels, Cill Rialaig Arts Centre, Kerry Craftboston, USA (also 2011, 2010 and 2008) 2011 Irish Craft Portfolio, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin 2007 Small Treasures, del Mano —2011 Gallery, Los Angeles, USA 2010 Irish Craft Portfolio, National Craft Gallery, Kilkenny; Kenny Gallery, Galway; Farmleigh Gallery, Dublin 2006 SOFA Chicago, USA —2010 (also SOFA New York, 2007) 2009 Contemporary Craft Fair, Bovey Tracey, Devon, UK 2006 Turning Wood into Art, ↑ —2009 Sarah Myerscough Fine Art, Inlaid sycamore bowl London, UK sycamore wood, argentium Origin, London, UK tarnish-resistant silver, wood dyes, 2008 Gifted, Wexford Arts Centre, Danish oil, 16.5 × 8.5cm Wexford Photographer, Roland Paschhoff Gallery Representation — DesignYard, Dublin

103 Sara Flynn Ceramics SARA

Sara Flynn saraflynnceramic.com FLYNN E. [email protected] Collections and Commissions — Victoria and Albert Museum, London, UK — The Gardiner Museum, Toronto, Canada CERAMICS — The Hunt Museum, Limerick — The Fitzwilliam Museum, Cambridge, UK — Chatsworth House, Derbyshire, UK — Shanghai Municipal People’s Government, China — The Art Institute of Chicago, USA — Office of Public Works, Ireland — National Museum of Ireland Concentrating on the challenges of — Loewe, Madrid, Spain — Columbus State University, USA thrown forms which are then altered — Crawford Municipal Art Gallery, Cork — Department of Foreign Affairs and and changed at varying stages of the Trade Ireland — Numerous private collections drying process, I produce sculptural nationally and internationally decorative vessels. ‘Closed’ abstract Recent Awards 2017 Loewe Craft Prize Finalist forms are also explored through the 2016 Golden Fleece Award — Merit 2014 European Ceramic Context, production of limited edition cast bronze Bornholm, Denmark 2010 Winner, Peter Brennan objects. In essence, the major concerns Pioneering Potter, Ceramics Ireland Award that my work deals with are a love Recent/Current Exhibitions of form, line and volume expressed SOLO EXHIBITIONS 2018 Sara Flynn, Erskine Hall & through the qualities and scope of my Coe, London, UK 2016 Sara Flynn, Erskine Hall & chosen materials. → I have an ongoing Coe, London, UK 2015 Ontogeny, Millennium Court relationship with porcelain, and for now Arts Centre, Portadown, Co. Armagh it is still my clay of choice. Of great 2014 Sara Flynn, Erskine Hall & Coe, London, UK importance is the potential of new and exciting edges, contours and shapes which can be explored through an understanding of material qualities and increasing skill. → Currently the main elements feeding the development of the work are process and finish coupled with constant exploration and a deepening understanding of form, volume and silhouette. Sympathy with my materials is a crucial aspect feeding how I work and what I make. → Another important aspect of my thinking and development of ideas involves ‘play’. Experimenting. Trying things out which often initially don’t work. This uninhibited part of my making cycle involves risk-taking, failure and critical understanding. It is fundamental to my way of understanding and to resolving ideas. → Sara graduated from Crawford College of Art & Design, Cork in 1998 with a Degree in Ceramic Design. She is based in Belfast.

104 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2012 Sara Flynn, Erskine Hall & 2012 COLLECT, Saatchi Gallery, Coe, London, UK London, UK (also 2011, 2010 and 2006) GROUP EXHIBITIONS AND FAIRS SOFA New York, USA (also 2019 Surface Matters, Dublin SOFA Chicago, 2008 and 2007) Castle; Artesania Catalunya dubh — dialogues in black, CCAM, Barcelona, Spain and Oliver Sears Gallery, Dublin National Design & Craft Ceramic Art London, London, Gallery, Kilkenny UK (also 2010 and 2011) 2018 Modern Masters, In Situ, The Civic, International Trade Fair, Barnsley, Yorkshire, UK Munich, Germany My Place, The Bluecoat 2017 Chance Encounters 3 — Lionel Display Centre, Wendt, Richard Smith, Sara Liverpool, UK Flynn, Miami Design 2011 dubh — dialogues in black, District, Florida, USA The American Irish Disobedient Bodies, JW Historical Society, Anderson Curates, New York, USA The Hepworth Gallery, PORTFOLIO, National Craft Wakefield, UK Gallery, Kilkenny; Farmleigh PAD, (represented by Gallery, Dublin Movements Modernes Gallery), 2010 Black, Leach Pottery Museum, Paris, France St. Ives, UK Narratives in Making, MATERIALpoetry, The American National Design & Craft Irish Historical Society, Gallery, Kilkenny and Ruthin New York, USA Craft Centre, Ruthin, Wales Summer Exhibition, Galerie 2016 Vase: Function Reviewed, Besson, London, UK National Design & Craft PORTFOLIO, National Craft Gallery, Kilkenny Gallery, Kilkenny; Kenny London Art Fair, London, UK Gallery, Galway; Farmleigh 2015 Side by Side, National Gallery, Dublin Design & Craft Craft Black and Gold, Platform Gallery, Kilkenny; Centre Gallery, Lancashire, UK Culturel Irlandais, Paris, France Gallery Representation Caliology & Lineage, Oliver — Erskine, Hall & Coe, London, UK Sears Gallery, Dublin Basic Black, Lacoste Gallery, Concord, USA Sara Flynn and Matthew Chambers, Puls Gallery, Brussels, Belgium Taste: Contemporary Crafts, Geneva, Switzerland (also 2014) London Art Fair, (represented by Erskine, Hall & Coe), London, UK 2014 Centred, Farmleigh Gallery, Dublin Vase, Vessel, Void, Oliver Sears Gallery, Dublin 2013 FIVE into FOUR, Oliver Sears Gallery, Dublin Future Beauty?, National Craft Gallery, Kilkenny and Farmleigh Gallery, Dublin ↑ Liverpool Corked, Flection Vessel Bluecoat Display Centre, porcelain, manganese glaze Liverpool, UK 31cm high In Situ, The Djanogly Art Photographer, Glenn Norwood Gallery, Nottingham University, UK

105 Sasha Sykes Furniture SASHA

Sasha Sykes sashasykes.com SYKES E. [email protected] T. +353 86 871 1901

Collections and Commissions — National Museum of Ireland FURNITURE — Office of Public Works, Ireland — Bank of America — Porsche Family — Maxmara — Kelli Weinzierl — Carton House, Kildare — The Cliff House Hotel, Co. Waterford — Farnhan Estate, Co. Cavan Sasha Sykes is influenced by the scale Recent/Current Exhibitions and aesthetic of the Irish landscape and SOLO EXHIBITIONS 2018 1:8, Voltz Clarke Gallery, its impact and relationship with social New York, USA 2016 Caliology, Oliver Sears history and humanity. Using acrylics and Gallery, Dublin 2014 Encased, Armory Week, hand-cast resins, she embeds found New York, USA Solo Show, Anthropologie objects and collected organic materials Gallery, London, UK 2013 The Walls of Cashel, such as wildflowers, thistles, mosses, Cashel, Tipperary 2003 Farm21, CC Gallery, lichens, seaweeds and shells. → I like to Westbourne Grove, London, UK work with unusual organic and locally GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin found materials; e.g. wildflowers and Castle; Artesania Catalunya CCAM, Barcelona, Spain and grasses from the Wicklow mountains, National Design & Craft Gallery, Kilkenny mosses and lichens from Carlow or 2018 Best of Europe, Homo Faber, Venice, Italy seaweeds and wild thistles from the EALAÍN, National Gallery of Ireland, Dublin south and west coasts. Together, objects Salon, Oliver Sears Gallery, Dublin such as these tell intimate stories about 2017 PAD, Berkeley Square, the physical locality as well as shedding light on the values and priorities of people living in the area. This combination of the natural habitat and man’s influence shape and colour everything in our world. → Sasha’s aim is to preserve, present and contextualise in an innovative and functional way. The resins heighten the colours, textures and forms of the material, highlighting their fragility and also their stage in the cycle of life. The final work is then meticulously sanded and polished giving it its translucency and emphasising the delicacy of the encased materials. → Sasha received an MA in Architecture from Edinburgh University, Scotland in 1998. She subsequently worked in retail design in London and New York. In 2001 she established Farm21, designing and making contemporary handcrafted rural furniture. She lives and works in Dublin.

106 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

and 2018 Mayfair, London, UK 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Wales A Name Unmade, Solstice Arts Centre, Co. Meath; Nerve Centre, Derry and Centre Culturel Irlandais, Paris, France Tresor Contemporary Craft, Basel, Switzerland 2016 Summer Show, Voltz Clarke Gallery, New York, USA 2015 In Residence, Oliver Sears Gallery, London, UK 2014 Vase, Vessel, Void, Oliver Sears Gallery, Dublin 2013 Cheongju Biennale, Korea Vernacular, London Design Week, London, UK Future Beauty?, National Craft Gallery, Kilkenny; Farmleigh Gallery, Dublin Éigse, Carlow After & Since, Newtownbarry House, Wexford True Love, Kilgraney House, Carlow Living With Design, The Malthouse Design Centre, Dublin; National Craft Gallery, Kilkenny Icon, Brown Thomas, Dublin 2012 PORTFOLIO, RHA Gallery, Dublin Gallery 43, Éigse, Carlow Light Fantastic, The Malthouse Design Centre, Dublin 2011 Designs to Live With, Dun Laoghaire, Dublin Celebration of Craftsmanship & Design, Cheltenham, UK Start, Clarence House, London, UK The Irish Craft Garden, Bloom in the Park, Dublin Blooming Art, Kilgraney House Gallery, Carlow Interior Design & Art Fair, RDS, Dublin 2010 Showcase of European Interior Design (European Gateway Programme), Tokyo, Japan The Family Silver, Éigse, Carlow ↑ Interior Design and Art Gyre (Ophelia) (detail) Fair, RDS, Dublin thirty-five varieties of foraged red, 2009 100% Design, London, UK brown and green Irish seaweed, resin, Interior Design and Art acrylic, steel rods Fair, RDS, Dublin 185 × 220/280 × 3.3cm 2007 Ecology, Mythology, Photographer, Phillip Gates Technology, National Craft courtesy of the Peter Petrou Gallery Gallery, Kilkenny and Farmleigh Gallery, Dublin

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

107 Stephen O’Briain Furniture STEPHEN

Stephen O’Briain Tomduff, Borris, Co. Carlow O’BRIAIN obriainfurniture.com E. [email protected] T. +353 87 270 7674

Collections and Commissions FURNITURE — Borris Library, Co. Carlow — Bank of Ireland — Dublin Chamber of Commerce — DIT Library — Embassy of Ireland, Tel Aviv — McCann Fitzgerald Solicitors — Sligo County Council — Government Buildings, Merrion Square, Stephen O’Briain’s furniture is Dublin — Numerous private collections distinguished by hand-planed curves, nationally and internationally simplified lines and meticulously Recent Awards 2010 RDS National Crafts detailed joints. His instinct is to find a Competition: First Prize Furniture; balance between the function of a piece Award of Excellence (Reserve) Prize; Crafts and its sculptural form, where every line, Council of Ireland Purchase Award shape and aspect is considered with Recent/Current Exhibitions the aim of creating a singular statement. GROUP EXHIBITIONS AND FAIRS 2019 Surface Matters, Dublin → Working almost exclusively in solid Castle; Artesania Catalunya CCAM, Barcelona, Spain and timber, both native and imported, National Design & Craft Gallery, Kilkenny O’Briain’s work has taken on an 2017 Narratives in Making, National Design & Craft increasingly organic quality. → The basic Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales form of Walnut Desk was built up from 2015 PORTFOLIO @ Solomon: Furniture, Solomon Fine Art, multiple layers of blocks using stack Dublin 2014 FORM, Borris House, Carlow lamination techniques. This rough form was then shaped using a selection of tools: pull planes, spoke shaves, and scrapers. → I was particularly interested in creating a balance between form, line and space. The top of the desk flows seamlessly into the neck which in turn develops into the base. → Stephen trained as a fine art painter before discovering the possibilities of furniture design. The transition from paint to wood was made all the easier by a tradition of woodworking in the family that stretches back three generations. He works mainly to commission from his workshop in Co. Carlow.

108 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

2010 RDS Craft Awards Exhibition, RDS, Dublin PORTFOLIO, Kenny Gallery, Galway; National Craft Gallery, Kilkenny 2009 Object, National Craft Gallery, Kilkenny 2008 SOFA, Chicago, USA Éigse Craft, Carlow 2005 Create, Fota House, Co. Cork 2011 Woods @ Work, The Centre for Creative Practices, Wicklow (also 2010)

↑ ↑ Walnut Desk (detail) Spiral Staircase French walnut, 1700 × 800 × 750cm brown oak, steel, 390 × 300 × 160cm Photographer, Roland Paschhoff Photographer, Richard Kingston

109 Stevan Hartung Furniture STEVAN

Stevan Hartung Coillbheag, Kylebeg, Blessington, HARTUNG Co. Wicklow stevanhartungfurniture.com E. [email protected] T. +353 (0)45 867023 FURNITURE Collections and Commissions — Department of Foreign Affairs, Vietnam — Office of Public Works, Ireland — Dublin City University — Holy Island Centre for Peace and Reconciliation, Firth of Clyde, Scotland — National Library of Ireland In my work, the wood used for a piece — Samye Ling Tibetan Buddhist Monastery, Eskdalemuir, Scotland is in itself an integral part of the design; — National Museum of Scotland, Edinburgh, Scotland the beauty of pattern and proportion can — Numerous private collections nationally and internationally be found in many places, both natural Recent Awards and crafted. The figure, colour, texture or 2009 Winner, Golden Fleece Award even the refractive qualities of the wood Recent/Current Exhibitions GROUP EXHIBITIONS AND FAIRS all play a part in determining how the 2019 Surface Matters, Dublin Castle; Artesania Catalunya design progresses and how the final CCAM, Barcelona, Spain and National Design & Craft piece will appear. The infinite patterns Gallery, Kilkenny 2009 Cream of Irish Design: produced by nature then become the RDS Art and Interiors Show, RDS, Dublin inspiration for the creation of a piece, Organic Geometry, National Craft Gallery, the beauty of this process being that the Kilkenny 2008 Image of Longing, National more you look, the more you see, so the Craft Gallery, Kilkenny PORTFOLIO, Bluecoat Display possibilities for creating patterns are Centre, Liverpool, UK endless. → How the material is worked also affects the feel of the final piece. The use of hand tools allows for a more intuitive way of working with wood; edges can be shaped with subtlety and finishes applied sparingly. → Having recently returned to work after spending a period of four years in a closed meditation retreat, the training in mindfulness and awareness continues to inform my professional practice. By developing a deeper sense of engagement, a more intuitive way of working is cultivated. → Stevan graduated with a Bachelor of Design (Honours) from the National College of Art & Design, Dublin in 1991. He works from his studio in Co. Wicklow.

110 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

You’ll Never Walk Alone, National Craft Gallery, Kilkenny 2006 Interior Design Show, RDS, Dublin 2005 Create, Fota House, Fota, Cork

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

111 Úna Burke Leather ÚNA

Úna Burke unaburke.com BURKE E. [email protected] +44 78 30650382

Collections and Commissions — Simone Handbag Museum, Seoul, LEATHER South Korea — Commission for private art collection of Philip Lim, New York, USA — Daphne Guinness, London, UK — Lady Gaga, Los Angeles, USA — Madonna’s dancers, USA

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

112 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

Ireland International Fair Fetishism, TRAPHOLT, Fund Kolding, Denmark Finalist, WGSN Global Vous avez dit bizarre?, Fashion Awards, Breakthrough Biennale International Designer Category Design Saint-Etienne, France Finalist, Ireland’s Most Fashion & Morality-Fashion, Influential in Fashion Beauty, and the Traces of Awards, Designer of the Year Time, Lentos Art Museum, A Shaded View on Fashion Austria Film 4 - Finalist 2014 Weathering, TENT London, 2010 RDS National Crafts London Design Festival, UK Competition: First Prize KFW2014, Kerry Fashion Week Leatherworking Category Catwalk Show, Killarney Winner, Design & Crafts ARC Fashion Event, Catwalk Council of Ireland Future Show, RDS, Dublin Makers Award Virgin Atlantic 19th Winner, Institute of International Fashion Lunch Designers in Ireland, 2014, Catwalk show, Dublin Fashion Designer of the Year 2013 Prosthetics, SHOWcabinet Finalist, Golden Fleece Award Exhibition, SHOWstudio 2009 Winner, London College of Gallery, London, UK Fashion, Off Catwalk Award MoBA 13 - Fetishism in for Design Fashion, International Winner, Design & Crafts Fashion Festival, Arnhem, Council of Ireland Future The Netherlands Makers Awards, Student Award RIAN, Contemporary Irish Finalist, ITS #8 Fashion, Embassy of Ireland International Fashion & Canary Wharf, London, UK Competition, Accessories Collaborative Art and Design Category Performance Installation, Finalist, 176 Zabludowicz The Hospital Club, London, Collection Future Map Prize, UK Finalist, Institute of Costume: Future Fashion, Designers in Ireland, Kilkenny Arts Festival, Graduate Designer of the Kilkenny Year Locked In/Locked Out, New Living Art Exhibition, Irish Recent/Current Exhibitions Museum of Contemporary Art, SOLO EXHIBITIONS Dublin 2015 Artisan Leather, RIAN, Contemporary Irish The Scottish Gallery, Jewellery, Barbara Stanley Edinburgh, Scotland Gallery, London, UK 2011 Úna Burke, The Hospital IDEATE, National Craft Club, London, UK Gallery, Kilkenny, The Look of Style Awards GROUP EXHIBITIONS AND FAIRS 2013, Manila, Philippines 2019 Surface Matters, Dublin Castle; Artesania Catalunya CCAM, Barcelona, Spain and National Design & Craft Gallery, Kilkenny 2017 Narratives in Making, National Design & Craft Gallery, Kilkenny and Ruthin Craft Centre, Ruthin, Wales 2016 Fashion: A Second Skin, Dubai Art Week, The cARTel, Dubai, UAE ↑ A Second Skin, Sorbonne Lace Halter (detail) University, Abu Dhabi, UAE vegetable-tanned calfskin, 2015 Side by Side, National solid brass fittings coated with Design &Craft Gallery, gold, brass screws Kilkenny; Centre Culturel 40 × 30 × 20cm Irlandais, Paris, France Photographer, Roland Paschhoff Playing with Tradition, Dublin Castle, Dublin

113 Zelouf & Bell Furniture ZELOUF & BELL

Zelouf & Bell Zelouf & Bell Furniture Makers FURNITURE Glasshouse, Vicarstown, County Laois E. [email protected] T. +353 87 230 5386

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

114 PORTFOLIO Critical Selection 2019—2020 Design & Crafts Council of Ireland

GROUP EXHIBITIONS AND FAIRS PORTFOLIO, RHA Gallery, 2019 Surface Matters, Dublin Dublin Castle; Artesania Catalunya 2013 After & Since, Newtownbarry CCAM, Barcelona, Spain and House, Co. Wexford National Design & Craft 48th Irish Antiques Dealers Gallery, Kilkenny Fair, Dublin 2018 TEFAF New York, featured Waterland, Waterways Ireland works with Maison Gerard, Visitors Centre, Dublin New York, USA 2013 Galerie David Hicks, Paris, Decorex International, —2014 France London, UK 2012 21st Century Design The Salon Art + Design, Classics, Irish Antique respresented by Maison Dealers Fair, Dublin Gerard, New York, USA Philadelphia Museum of Art 2017 Narratives in Making, Craft Show, Philadelphia USA National Craft Gallery, Reconstructed Rooms, Kilkenny and Ruthin National Museum of Ireland Craft Centre, Ruthin, Wales COMMEMORATE, SPACEcraft, Architectural Digest Design Belfast Show, New York, USA 2011 International Contemporary Collective Design, Furniture Fair, New York, USA respresented by Maison Interiors, RDS, Dublin Gerard, New York, USA Philadelphia Invitational The Salon Art + Design, Furniture Show, respresented by Maison Philadelphia, USA Gerard, New York, USA Architectural Digest MADE, House, RDS, Dublin New York, USA Decorex International, 2010 Interiors, RDS, Dublin London, UK 100% Design, London, UK Royal Ulster Academy Annual Architectural Digest Home Exhibition, Ulster Museum, Design Show, MADE, New York, Belfast USA 2016 Decorex International, Philadelphia Invitational London, UK Furniture Show, Solomon Fine Art, Dublin Philadelphia, USA Architectural Digest Design 2009 Interiors, RDS, Dublin Show, New York, USA 2008 Exquisite, Cork MADE 2016, CDC, Belfast Interiors, RDS, Dublin Design Ireland, Maison et Celebration of Craftsmanship, Objet, Paris, France Cheltenham, UK 2015 Solomon Fine Art at the Luxury, K Club, Kildare and 2016 Irish Antiques Dealers Fair, Bespoke, Cheltenham, UK RDS, Dublin 2007 Celebration of Craftsmanship, 2015 Playing with Tradition, Cheltenham, UK Dublin Castle, Dublin Bespoke, Worshipful Company PORTFOLIO @ Solomon: of Furniture Makers, London, Furniture, Solomon Fine Art, UK Dublin Exquisite, Dublin Side by Side, National Craft Bespoke, Cheltenham, UK Gallery, Kilkenny; The Scottish Gallery, Edinburgh, Gallery Representation Scotland; Centre Culturel — Maison Gerard, New York, USA Irlandais, Paris, France — David Hicks, Paris, France Architectural Digest Design Show, New York, USA Scenes d’Interieur, Maison et Objet, Paris, France 2014 ICFF, with Bespoke Global, ↑ New York, USA Torii Bar Irish Art in Cambridge, black bolivar, red birch, white Gonville & Caius College figured anegre, grey ripple Library, Cambridge, UK sycamore, yellow and celadon tay, Paris Deign Week, Galerie gold leaf, cast bronze bamboo, Joseph, Paris, France brass, shagreen, celadon leather 49th Irish Antiques Dealers Torii top: 163cm length Fair, Dublin Cabinet: 100 × 50 × 158cm Photographer, Roland Paschhoff ↑ ↑ Stella’d Cocktail Cabinet fumed figured eucalyptus, ripple sycamore, wenge, ivory shagreen, lambskin, 860 × 450 × 165cm Photographer, Roland Paschhoff

115 About Us Colophon The Design & Crafts Council of Ireland Editor: Ciara Garvey (DCCoI) is the national agency for Editorial Team: Susan Brindley, Deirdre the commercial development of Irish O’Reilly, Brian McGee, Liam Mannix designers and makers, stimulating Publication Design: Atelier TypoGraphic innovation, championing design thinking Design (Oran Day and Tito Long) and informing Government policy. Photography: Roland Paschhoff, Our vision is that Ireland is recognised Andrew Bradley, Sylvain Deleu, Phillip and valued for its culture of design Gates (courtesy of Peter Petrou Gallery), and craft. DCCoI’s activities are funded Richard Kingston, Damien Maddock, by the Department of Jobs, Enterprise and Ciarán McGill, Michael McLaughlin, Innovation via Enterprise Ireland. DCCoI Rory Moore, Muiris Moynihan, currently has 62 member organisations Glenn Norwood, Janice O’Connell and over 2,500 registered clients. (at f22 Photography), David Pauley www.dccoi.ie Printing: Print Media Services, Dublin Binding: Printglaze, Dublin Design & Crafts Council of Ireland Castle Yard, Kilkenny, Ireland ISBN: 978-1-906691-67-7 T. +353 (0) 56 776 1804 F. +353 (0) 56 776 3754 All images and captions reproduced www.dccoi.ie in this book have been supplIed by the selected makers. While every effort has Brian McGee been made to ensure accuracy, DCCoI Market Development Director does not under any circumstances accept E. [email protected] / T. (056) 7796145 responsibility for errors, omissions and/or inferior digital files/sources. Ciara Garvey Development Manager, © Copyright the authors, makers, Collector & Tourism Programmes photographers and publishers. All rights E. [email protected] / T. (056) 7796137 reserved. Under no circumstances can any part of this book be reproduced, Technicians for Selection Process: in any way, without the prior permission John Whelan and Steve Aylin of the copyright owners. PORTFOLIO ← Cover image: ISBN: 978-1-906691-67-7 PORTFOLIO Critical Selection 2019—2020 Annemarie Reinhold, Carrot Spoons Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm Basketry Caoladóireacht Calligraphy Peannaireacht Photographer, Roland Paschhoff Stone Cloch Ceramics Ceirmeacht Metals Miotail Wood Adhmad Furniture Troscán Fashion Faisean Printmaking Déanamh Priontaí Jewellery Seodra Textiles Teicstílí Surface Design Dearadh Dromchla Glass Gloine Weaving Fíodóireacht Paper Páipéar Leatherwork Saothar Leathair Enamelling Cruanadh Critical Selection 2019—2020

www.dccoi.ie/portfolio Design & Crafts Council of Ireland

PORTFOLIO2019-2020_Cover4.1_FA180219.indd 2-3 18/02/2019 15:34 PORTFOLIO ← Cover image: ISBN: 978-1-906691-67-7 PORTFOLIO Critical Selection 2019—2020 Annemarie Reinhold, Carrot Spoons Britannia silver and sterling silver 13.2 × 2.4cm and 10.7 × 2.5cm Basketry Caoladóireacht Calligraphy Peannaireacht Photographer, Roland Paschhoff Stone Cloch Ceramics Ceirmeacht Metals Miotail Wood Adhmad Furniture Troscán Fashion Faisean Printmaking Déanamh Priontaí Jewellery Seodra Textiles Teicstílí Surface Design Dearadh Dromchla Glass Gloine Weaving Fíodóireacht Paper Páipéar Leatherwork Saothar Leathair Enamelling Cruanadh Critical Selection 2019—2020

www.dccoi.ie/portfolio Design & Crafts Council of Ireland

PORTFOLIO2019-2020_Cover4.1_FA180219.indd 2-3 18/02/2019 15:34