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Plannishing in Plockton
The best part of working in the Crafts Team at HI-Arts is that I get to know the work of so many great makers from throughout the Highlands and Islands.
Early on in my job we featured the work of Plockton based Jewellery Designer/Maker Gilly Langton as part of the Makers of the Month section on our website. I love Gilly’s work and have been lucky enough to get to know Gilly quite well from meeting her at Makers’ Days and through her role as a mentor in the HI-Arts Making Progress Scheme, so when Gilly sent through details of her jewellery making workshops this summer I was really keen to go and take part.The added bonus of Gilly’s workshops is that they take place in Plockton, a beautiful coastal village on the West Coast (about 2 hours from Inverness). My colleague Fiona had also signed up to come to the workshop, so we set off late on Thursday afternoon and headed west.
Plockton
After a really lovely evening in Plockton on Thursday, we woke up early on the Friday morning and had a good wander around the village. Plockton is a really friendly place, and you realise that everyone knows everyone – it turns out that the girl who ran our B& B (also called Fiona) was also coming to the course and Gilly had even signed up a recruit for the course in the pub the night before (Janie from Cromarty!).
Gilly is originally from Chorley (near Manchester) and came to Plockton about 5 years ago for a residency at Plockton High School – understandably Gilly fell in love with Plockton and made the massive decision to move from the north west of England to the north west of the Highlands. Gilly runs her studio from her house in Plockton (see recent video footage of Gilly at work: http://www.vimeo.com/12766044) , but has kept her relationship with the High School and now runs her jewellery making workshops from the CDT department of the school.
On entering the school, what struck me was how great the workshop facilities at the school seemed to be – I have to admit that I haven’t been in a large workshop like that since my days at art college in Birmingham (I studied Furniture Design), so to have access to so many fantastic tools and workbench space I was like a small child in a sweet shop.
Gilly made us all feel very at home with a lovely cup of tea and some homemade flapjacks and she explained how the day would go; she said that she would familiarise us with some of the tools we would be using and then would show us six different techniques she uses as part of her jewellery making process. Gilly also showed us a range of her own jewellery which was particularly useful, as she explained the techniques used to create them as she went along. Also a great inspiration were the jewellery design books (the type of design books I aspire to have lying about on my coffee table) which she showed us, it really opened all of our eyes to the fantastic contemporary jewellery that is being made by makers in the UK and beyond at the moment.
Gilly Langton Jewellery Workshop
We were then let loose on our own to experiment with the tools and try out some of the techniques shown to us using copper as a working material. Gilly explained that copper was a good material to start experimenting with as it is very supple and is hardier and obviously a lot less expensive than silver, so you felt you could make mistakes without worrying about wasting too much of the material.
I decided early on that I enjoyed how much you got to hammer things when making jewellery! Using a range of hammers (Jobbing, Plannishing and Hide Hammers) with a Doming block and punches, it was really interesting to see how the metal could be manipulated. I also enjoyed using the Ring Triblet to form links and ovals which could be used to form a larger structure.
It became apparent very early on how important it is to understand the make up of the material you are using and how it will react to different processes and how the design of the work almost comes from understanding these processes. I know it sounds silly, but I have always been someone who has been over dependant on a sketch book and working through my designs for things on paper, this felt like a very different way of working and I felt a little regretful that I hadn’t spent more hours at college experimenting in the workshop rather than sketching in the studio.
This was not a time for regret though, after a fantastic lunch (with the best homemade chocolate cake I’ve ever had) we were all encouraged to concentrate on one piece of work that we could finish by the end of the afternoon. Gilly had supplies of silver with her which we could purchase to work with. I have to say that by this stage everyone was so focused on what they wanted to make, that there was quite a level of excitement in the workshop. Gilly was great at coming through the group and spending time with us individually to work through our designs and the processes we would have to go through to make our pieces.
As someone who likes to wear quite large jewellery I thought I would stick to using copper and was keen to create something using lots of circles and domes as I had enjoyed making them in the morning and thought it best to stick to a couple of techniques rather than try anything too ambitious. What I hadn’t considered is how difficult soldering is!! We had been shown this by Gilly in the morning and she had made it look relatively simple – I failed to remember that Gilly has had over 15 years practice over me! Anyway, my soldering skills (or lack thereof) didn’t dampen my spirits and I was pleased to finish the day with a piece that half resembled what I had sent out to make.
The other women in the class had made a fantastic range of jewellery and had had the confidence to work in silver – out of the day a total of 6 rings, 3 necklaces, 2 bracelets and one copper creation (that’s mine) were made.
I would like to say a massive thank you to Gilly for such a great day, it really was inspiring and also thank you to the other women on the course, it was a great group of people and really good fun working alongside them all!
Gilly was kind enough to give us all a printed list of the tools and materials we would need to purchase to set up our own small workshop at home. If I knew I could master the skill that is soldering, then I might well consider converting my shed at the bottom of the garden in to a workshop and spend my weekends hammering metal to my heart’s content.
Avril Souter, July 2010
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Time Out
Cove Park
Time Out
This is the time of year when many of us try to take a break and escape from our usual routine by relaxing with family and friends, hoping to return refreshed and inspired.
How many of us devote that same attention to our working practice and take time away to consider the direction we are going, the work we are creating and engage in conversations that push our ideas?
Many consider this an indulgence that we are too busy to address and this is understandable when bills need to be paid, families cared for and life to be pursued.
Having the luxury of spending time to reflect alone or with like minded people, to assess and develop your work and to really take time away from daily life (including family!) can be so beneficial.
We are delighted to be offering two Highland Craft residencies at Cove Park this year (through Rural Innovation Funding) and hope to do the same next year. We will watch and wait to see how our makers enjoy and benefit from the experience but I am confident that they will return inspired!
Cove Park is an international arts residency centre that allows artists working in all forms to undertake research, develop new project and take time away from ‘normal’ life.
All the artists I have spoken with who have participated in Cove’s unique programme say that it is an incredible experience and one they look back on as a defining moment in their creative practice.
Places like this are so important and should be an essential part of any professional creative person’s development!
Perhaps those who are not so fortunate to be able to visit Cove Park should take note and build in time their diaries to take a break away from the day to day and to take time in a new location to concentrate on how their work is progressing.
A sort of business and creative health check!
Even events like Makers Days, exhibitions and trips to conferences can have the same effect – we are still counting the benefits from our Makers trip to Orkney last year, our visit to Stroud and countless makers’ visits through our Go and See and Makers Awards funding.
So please don’t make it an indulgence and make it essential! I look forward to hearing from you with your success stories.
Pamela
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Assemble
AssembleOn Tuesday I was in a very hot London for the Craft Council Conference, Assemble. Set in the lovely surroundings of LSO St Lukes, I had high expectations for the day, hoping to come home inspired and informed!
The Craft Council used the conference to launch research papers as well as the giving us opportunity to debate economic innovation and the social value of craft in the new economy.
I was fortunate to have Gilly Langton from Plockton with me (she had been funded through our Go and See programme, see her report http://www.hi-arts.co.uk/Crafts/go-and-see-visits-reports.htm) as I did not spot many other familiar faces. It is a pity, as one of the reasons for going to conferences is the opportunity to catch up with colleagues as well as making new connections!
Although the Craft Council is billed as the national development agency for contemporary craft in the UK, I do find the London- centric slant of their programmes irritating. Every time they say that they are rolling out a programme for the UK I feel like saying ‘but not Scotland’ as whenever I have approached them about projects I would think could benefit our makers I have been told that they are only for England. Fair enough, as they are funded by Art Council England, but they should not say the UK when it is clearly not the case!
Saying that, we do benefit from some of their programmes such as the work we have borrowed from their Collection for our exhibition, Made it – but it is very unusual for this to happen and certainly the first time work from their collection has been in the Highlands.
As the day progressed I tried to make sense of what was being discussed and how it relates to the work we do here in the Highlands. So much talk of digital media and making sure we embrace it or we will be left behind! Possibly all true, but I do worry about the time and energy all this takes and how we are in danger of moving away from what craftspeople do –making beautiful objects with their hands- and hope we will not be left with makers with amazing skills in digital media who can throw a wonderful virtual pot but when faced with real clay are unable to do anything with it!
I trust not and do have faith that makers are practical, realistic and love what they do, realising the huge importance of creating with your hands especially in these difficult economic times.
By the end of the day I felt frustrated that I had heard so much before and that no clear idea of a way forward was being suggested, perhaps it was the heat but I felt the audience was not really engaging with the conversation and that it was a missed opportunity.
However, as always it is important to go to events such as this, especially when you live in the Highlands, as it is too easy to get complacent about the work you do and forget about the rest of the world. Even if one comes away feeling slightly disappointed, there will still be benefits, even if they are just to confirm that we are on the right track here!
As Gilly and I agreed on the train home, the best bit about going to London is getting the sleeper and waking up the next morning in the Highlands knowing that what we are doing is right for us in our area and that we are so privileged to be able to do this in such an inspirational place!
Pamela Conacher
24th June 2010
www.assemble.org.uk www.craftscouncil.org.uk
http://craftresearch.blogspot.com/2010/06/assemble-london-session-1.html
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Making Progress
Eileen Gatt, beaker
On the 4th June we had our afternoon event to Celebrate Craft and our Mentoring Project, Making Progress. It also saw the opening of our exhibitions, Made It! and Laura West’s Spotlight.
As promised, the sun shone, tasty food, refreshing fizz and good conversation was in order!
As part of the mentoring project makers have to curate their own spotlight exhibition and Laura was our second maker to go through this process.
Our Spotlight makers have very rarely experienced installing an exhibition, so it can be a daunting prospect. However, the pleasure in seeing your work as a whole, having positive comment on it from the public and breathing a sigh of relief as you realise that you really are making progress should make it all worth it!
For the public who view exhibitions, few have any idea of the huge amount of work that goes into getting an exhibition to the Private View stage.
From the initial idea, selecting work (and making it when you are the maker), getting it safely to the gallery, planning the layout, designing plinths and display material, making sure everything is all delivered on time and in the correct condition, labels, invites and posters designed- printed and sent out, lighting, security, Private view refreshments and finally installing it all and you then have to be in a fit condition to speak to your guests when it all opens!
With the short changeover time in galleries, you very rarely have the luxury of days of time and more likely it is 24 frantic hours of painting plinths, unpacking and hanging work. It always gets done in time, thought sometimes floors are being brushed as the visitors arrived!
Our exhibitions last week were no exception and we had the added stress of dealing with work from the Crafts Council Collection that had very stringent installation and handling requirements. Highland Council Exhibitions Unit have worked incredible hard to ensure that this exhibition has been given a professional and classy display that does the work justice. No easy task with limited resources and no access to the work until the last minute!
As the work was unpacked, the excitement mounted as one of the great joys of pulling an exhibition together where the work is of this calibre is seeing it insitu and realising that it is going to look amazing!
The Craft Council Collection work was selected by our makers and their mentors as work that has influenced them and seeing their work displayed alongside it, you can see this journey clearly.
For me, the greatest pleasure is seeing that our makers work sits on a level footing with the top makers work. A true indication of the quality here in the Highlands!
If you have not already been, please go and see for yourself. And as you view the exhibitions, remember the months of preparation that has gone into making it all look so wonderful!
Pamela Conacher
June 2010
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Collect
Collect
Our group visit last week was for makers who aspire to participate at Collect in the future. It was good to have a group who, once more spent time together catching up, discussing their own practice and wonderful to see them realise that their work is on a level with much that is on show.
Collect is very much about selling to a high end market and to be able to see work from all over the world in one place is a rare opportunity. As usual, after a day or night of travel much of the first day is spent absorbing the atmosphere, people watching, forgetting to eat, resting weary feet and being amazed by all that is on display and the prices people are happy to pay!Visiting London is always hectic as you want to cram in as many exhibitions and gallery visits as you can in a short space of time, take that experience home with you and then digest it all in the relative peace and tranquillity of the Highlands!
Collect is constantly inspiring, sometimes amusing and occasionally disappointing. The majority of the work is exquisitely made and pushes the boundaries of what is perceived as Craft, reflected in the fact that the show is called the International Art Fair for Contemporary Objects.
To see work by makers who you have long admired is a real treat and one of my favourite occupations is to go round picking the work I would buy if I had unlimited funds. You find new makers, new work by makers you know and work that you do wonder ‘how on earth did that get in’! But generally the quality is of the very highest and the gallery stands beautifully displayed.
Many red dots had appeared by the end of the Private View which goes to show that people are still buying; indeed both the Scottish Gallery and the National Craft Gallery, Ireland had sold most of their work by the end of the first day.
As well as our visit to Collect, our group visited several other galleries including the V&A and work at Fortnum and Mason ‘Handmade’. This display was really interesting as it was a selling exhibition in a very well known retail shop. Work from 50 makers was of the highest level and featured work for the home and in particular, food and dining. Many displays were on old tables so you could see and touch the work and it took away the gallery feel making it all more accessible.
It was a pleasure to see work by Tain based Glasstorm included as well as several makers from Cornwall that I had not come across before. I will be doing some more research as it is a wonderful way of retailing craft to an upmarket audience and an approach that is to be commended.
Once more, it struck me that so much can be achieved by getting makers together at events such as this. I personally value the time I get to discuss makers practice and problems as well as feel that relationships are strengthened and anything is possible with such strong and creative people working in the sector in the Highlands!
Pamela Conacher
17/05/10
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Textile Fever in Stroud
Stroud International Textile Festival – May 2010
Having read through the selection of events and talks in the Stroud International Textile Festival brochure, I was thoroughly looking forward to our visit to this event, but what I was also particularly looking forward to was spending some time with the designer/makers who were exhibiting and selling their work at the festival and were also coming along on this trip.
Those makers who attended were Mhairi Killin from Iona, Jenny Deschenes from Spean Bridge, Lizza Hume from Westray in Orkney, Andrea Williamson and Wendy Inkster from Shetland (Jennifer Cantwell from Inverness was exhibiting her work, but was unable to attend the festival). Also attending the trip was Hazel Hughson from Shetland Arts and of course Pamela Conacher, our Crafts Development Coordinator at HI-Arts.
Highlands and Islands Makers at Stroud
As everyone was travelling from a variety of locations throughout the Highlands and Islands and arriving at various times on the Thursday evening, we agreed to meet up at breakfast on the Friday morning. It was clear from the start that this was going to be a very enjoyable way to spend a couple of days, everyone very quickly got to know each other as the makers talked about their plans for the next few days, what they hoped to get from the visit and how it would be interesting to see how their work looked ‘in situ’ and what the other work would look like in comparison.
We had been invited to the opening of the textile festival which was being held at a gorgeous location called the ‘Museum in The Park’ in Stroud.
The opening itself was very busy and was held in a gallery space within the Museum. There was work on display from several of the artists who were exhibiting as part of the festival, this was also a great chance to mingle with other exhibitors and take in the splendid surroundings. I have to say that I was quite smitten with the work of jewellery designer Angela O’Kelly, whose work is quite sculptural and crosses the boundaries of jewellery, textiles and sculpture. I also loved seeing Jo Barkers tapestries – such a fantastic use of colour, and also loved the fantastic range of felt animals by Annie Hutchison, which were on exhibition in the foyer of the museum. I also particularly enjoyed hearing Sir Christopher Frayling talk as he officially opened the festival; he was so inspiring and talked about craft with such a passion.
Deirdre Nelson has been working as Artist in Residence in Stroud in the lead up to the festival and her installation of swing-ball on the front lawn outside the museum was really great fun – she also had installed her embroidered tennis balls throughout the museum exhibits and it really worked well.
We then ventured in to the town of Stroud as a group and went to find the Made in Stroud shop where the Made in Highlands work was being exhibited and was for sale. Thanks to the very handy festival brochure, we found the shop quite easily. It was a little nerve racking waiting to she how the work looked, as you appreciated that the makers have invested quite a lot of time and money in sending their work to Stroud and attending this visit and that they wanted their work to be shown in the right environment, surrounded by products of similar quality.
Thankfully when we arrived we were told that some of the work had been sold already and that there had been a great level of interest from everyone who had come in to the shop. I have to say that the quality work for the Highlands and Islands makers was fantastic, I was familiar with each of the makers’ work, having seen it online or having featured them on the HI-Arts website, but you really have to see the work in real life to appreciate how great it is. We all commented on how great all of the work looked together, although it was felt that perhaps a little more space could have been provided and I know that Mhairi Killin felt that she felt her work may have looked better in more of a gallery-type venue.
Made in Highlands at Stroud International Textile Festival
After making a few purchases in the shop (well, you have to treat yourself!!) we returned to the hotel and proceeded to have a great evening full of conversation and laughter. I have to say that on a personal level I really enjoyed spending time with a group of people who have a similar background, we had lots of fun conversations about our experiences at art college and it was great to hear how they went on to then progress in to running their own businesses – a route that I often wonder whether I should have gone down at the time of leaving college. No regrets now though, as working with HI-Arts I still get to indulge my love of design and work with some of these great makers.
Saturday
As the festival was now officially open, many of us had planned which of the exhibitions and talks we wanted to attend. Pamela and I wanted everyone to have the freedom to attend the events they wanted to so once we arrived in Stroud, we all agreed to ‘do our own thing’ and meet up later in the day.
Along with Pamela and Jenny Deschenes, we went to visit Losing the Thread Textile Artists which was held on the top floor of the Kendrick Art Shop, it was a tiny space, but I really liked the idea of having the exhibition in this venue. Then on to the exhibit by the Cork Textiles Network at Stroud Subscription Rooms, a good selection of work, in a great bright space.
What I liked about the exhibits is that many of them were in unusual locations, shops such as Millets and Oxfam had installations in their windows and they really made an impact. I felt holding a textiles festival in a town that has such a rich textile heritage was an important part of the impact of the festival too, this would be an important aspect to consider if planning a similar event in the Highlands and Islands, that and somehow making all the venues an accessible distance from one another, with a great map etc to guide visitors from venue to venue.
Pamela and I had pre-booked tickets for a couple of talks in the afternoon – Material Activism by Dr Jessica Hemmings and ‘In Conversation: Contemporary Tapestry’ with Jo Barker and Sara Brennan.
I thoroughly enjoyed the talk by Dr Jessica Hemmings, she really opened my eyes to the range of works being done throughout the world, and how powerful a medium textiles can be to point out injustices and issues that are going on in the world now.
Again it was good to hear about processes and influences from Jo Barker and Sara Brennan – perhaps it would have been more powerful to have this talk staged in the exhibition space so that they could have talked about their work whilst us being amongst it.
That evening we were all invited to attend a supper with fellow exhibitors and Lizzie Walton who organises the festival. This was a good opportunity to chat with makers from other areas in a very relaxed environment – we were sat beside some of the makers from the Cork Textiles Network, it was interesting to hear about their stories, what they made and a little about where they lived. It is so important to have these sort of opportunities to mix with makers in a more social occasion.
Sunday – unfortunately I had to leave early to next day to travel home, but I was left wanting more.
Avril Souter, May 2010
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Travelling Makers
Our makers at Stroud, with Hazel and Pamela
Travelling Makers
From Shetland, Westray, Iona, Lochaber and Inverness, we arrived by trains, ferries, buses, taxis, planes and in some cases, all five!
Organising Highland invasions like this seems to be an integral part of my job and one I relish. By the very nature of our location, we usually work in isolation and although this can be wonderful a lot of the time, sometimes we need to get out of our comfort zone and look at the rest of the world. The chance to meet with like minded people, to discuss and plan, inspire and enthuse and then to return home exhausted with a head filled with new ideas, friendships and contacts is essential for those of us who live here.
Our group to attend the Stroud International Textile Festival was such a visit – all makers who were exhibiting as part of this year’s festival plus Hazel Hughson from Shetland Arts, Avril and myself from HI-Arts.
We were also going to see how we could be involved in the festival in coming years and to look at ways we could translate this to the Highlands.
Attending the festival was a great way to get our band of well travelled makers together and then to watch what happens as they realise that they are not alone in their struggles, that they have all to leave and organise their workshops, families and life. That wherever we live, we have similar needs and demands.
Where the Highland and Islands are different from most of the rest of the country is that we have serious transport issues to address; getting supplies, organising exhibitions, meeting other makers and organisations take on a whole new dimension when you have to deal with ferries,planes, weather and single track roads.
Our Stroud trip confirmed that this is something that people in other parts of the country have really no idea about. I heard one comment at our networking supper that seemed to sum this up, ‘Shetland, is that where they make Harris Tweed?!
Hazel usually takes out her map at this point and then shows the bemused person where Shetland sits in relation to the rest of the country, and when they also realise that the Highlands are a huge area geographically and I tell them that my commute to Inverness is a 5 hour round trip, they get some idea of the scale of the area we cover!
Perhaps this is why our makers work really demonstrates such a sense of place. Looking at our groups work at Made in the Highlands at Made in Stroud you are struck by the way the colours reflect our area, the quality is outstanding and the designs are contemporary but still retain the essence of our heritage, something that was commented on by so many people.
I hope by taking groups to other areas, our makers go home feeling less isolated and that the places and people they visit have a better understanding of where we come from and what we do. And best of all, I look forward to makers getting back in touch to tell me about their new plans and projects as a result of their trip!
Next week we are off to London and Collect with a new group, so watch this space for my update on that visit!
Pamela
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Making Progress, Making Tools!
One of my home made gold finishing tools.
Producing new work is demanding. It requires investment in time, money, focus, inspiration, invention and hard work. The first two of these things, ‘time and money’ are usually in short supply. It is easy enough to ‘buy in’ custom made tool and materials if you have enough money to flash in front of your suppliers, but what if you don’t? Invention is the only way.
Since gold (like) tooling features on my new work, and my usual tool makers have been slow to help with tool stock, I have resorted to making my own gold finishing tools out of brass screws and broom handles. It works a treat and my designs are drawn and hand shaped by me. What a revelation! See picture above.
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Picture Perfect
I always love getting new images sent through to me, whether it is for the crafts newsletter which we send out every month, the online galleries or for Making Progress web pages on the HI-Arts website – it’s great to see examples of makers work from throughout the Highlands and Islands.
We are also putting together a postcard to promote the work of the Making Progress makers in the very near future - I will be sure to include a copy on these pages for all to see. Keep up to date with all things ‘craft’ by visiting the craft pages on the HI-Arts website and checking into the news section: http://www.hi-arts.co.uk/Crafts/
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Taking Time
Tree in a vegetable garden by Paul Scott. Image Richard Batty
Taking Time
Taking the West Highland train home from Edinburgh takes around 6 hours compared to 3 ½ hours in the car. It is a spectacular journey in daylight and one I have done numerous times since childhood but more often I drive because taking 6 hours out of my life somehow seems wasteful. But sometimes you need a train journey to ponder, think and plan!
This week I travelled the journey at night so the views could not distract me and I had precious time to reflect. It seemed appropriate that I had just been to Innovative Craft and the Dovecot studios to view Taking Time: Craft and the Slow Revolution. The exhibition considers how contemporary craft practice embraces similar values to those supported by the Slow Movement. Both think through where things are made and by whom and ask us to slow down, philosophically if not necessarily literally and to reflect on a more thoughtful way of doing things.
The work of the nineteen international makers in the exhibition invites you to question time and to perhaps try to forget about it for a while. Through their work and thinking they offer the chance to interact with and become immersed in time.
As David Gates says in the catalogue to accompany the exhibition ‘..time to think and reflect and to take thoughts on to the next piece, not necessarily slowly but as a mark in a continuum.’
Perhaps here in the Highlands we already embrace many of the values of taking time to make, having time to reflect and the sense and importance of place. Before it had the name of the Slow Movement, I always used to believe that this way of working was crucial to being a maker here! It takes time and commitment to live here, to travel to outside markets and events, to reflect on work and to develop it to a new level and direction. None of this can be hurried and it all happens in its own time.
A word on the work of IC: Innovative Craft and the exhibitions at the Dovecote Studios. Over the past year I have visited many times and encouraged others to do the same.
I am constantly amazed to be able to see exhibitions of such high calibre in Scotland and value their approach to challenging preconceptions about the boundaries between arts, craft, music and performance.
Showing at the same time as Taking Time is an outstanding show of contemporary silvermaking from Bishoplands, a centre for silversmithing which gives makers the time and space to become true professionals. As well as world renowned makers such as Malcolm Appleby and Adrian Hope the display has work from silversmiths now beginning to establish their careers such as Lin Cheung and Angela Cork.
The breadth and the standard of work is stunning.
So taking time out is important too; taking time to go to see exhibitions, to reflect and to come home inspired and enthused and ready for the next challenge. And taking the slow train can sometime be the best way to get home!
www.innovativecraft.co.uk www.dovecotstudios.com
Topics
Blogroll
- Bishoplands Educational Trust
- Craft Council
- Craftspace
- Dovecot Studios
- Handmade and Fortnum and Mason
- Innovative Crafts
- Stroud International Textile Festival
- Taking Time
Crafts Links
- Bishoplands Educational Trust
- Craft Council
- CraftScotland
- Craftspace
- Dovecot Studios
- HI-Arts Crafts Development
- HI-Arts Making Progress Mentoring Scheme
- Innovative Crafts
- Stroud International Textile Festival
- Taking Time
- www.text-isles.com
Northings
Sian Jamieson
Pamela Conacher
Avril Souter
laura west
Daniel Kavanagh
jendeschenes
lucywoodley
Northings
mplanterose
