Archive for the ‘Regions’ Category
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Selling the Sizzle
On the first hot and sunny day for several weeks makers came from far and wide to listen to inspirational speakers for our summer event in Inverness.
‘Selling the Sizzle’ was Tina Rose’s suggestion for a title and it seemed very appropriate,and all the more so, as the day progressed and each speaker had another tale to tell about how they go about selling work. We were certainly feeling the sizzle by the end of the day!
To get things started our keynote speakers were Professor Georgina Follet and Dr Louise Valentine who outlined the exciting plans for the V&A at Dundee and what this will mean to makers and designers. To have this amazing resource in Scotland as soon as 2015 is a huge undertaking but with support, funding and the drive of a focused team is seems it will happen – I for one can’t wait.
Selling the Sizzle, Dr Louise Valentine and Melanie Muir
Deirdre Neilson is a name that is familiar to many of us -as artist in resident, mentor and textile artist extraordinaire but her talk was about how she has completely embraced all the new Social Media to promote her work. If everyone was not Tweeting by the end of the day they should be!
Then to get everyone talking we had a first – Speedcraft! The brainchild of Tina with assistance from Carol, it was a brilliant way to get people talking about their work, making new contacts and exchanging ideas.
In the afternoon we continued our theme with four speakers each with a different approach to retailing.
Maggie Broadly from West Kilbride and Craft Town Scotland, Steph Marsden from Edinburgh’s Craft House Concept, Emma Blain from the Shetland group Text- Isles and finally Carrie and Clare from Made in the Shade in Glasgow.
The day was aimed at getting makers and retailers to look at new ways of selling, to inspire and enthuse! We certainly did that and I don’t think I have seen such an animated group of makers in one place for a long time.
Selling the Sizzle
Our event was another of HI-Arts Crafts promotions to support the sector in developing their work and to assist them to find new markets.
Through our Mentoring to Market programme makers have researched shows from Origin to Country Living.We took a group to London and Craft Central in May to showcase their work and then another group headed to Germany and EU-inqe trade and retail show. All have come back with similar tales of declining sales, the huge costs of exhibiting and all through no fault of the organisers or the quality of work on show. The public seem to love their work but very few are buying.
So where do we go from here? Are the days of trade and retail shows over as makers are getting less and less keen to commit to the outlay with no guarantee of sales?
I personally feel that the time is ripe to look at new ways of selling and to be creative with your approach.
Use social media to promote, think local and niche events, look at new customers in areas you may not have considered, get together with like minded makers for pop up shops and party events, be as imaginative as you can. And when the economic storm has passed – as it eventually will – you will be ready to take on the world!
Whatever you do, if your work means anything to you, you must not give up but see change as a new and exciting opportunity.
Pamela Conacher 8th June 2011
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The final stretch
Only a few more days in the workshop until the chairs are finished so I thought I would post a sneak peak of what exactly I have been up to over the last few months.
The initial chairs or aboriginal chairs as like the call them were finished some time in early February, and since then the have been cut in half, sanded, dyed, coated in rubber and upholstered.
…all I need to sort out now is the layout for the exhibition.
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rope, string and thread….making progress
I really enjoyed reading nick’s report, thank you. I have been working away and have done nearly 40 ropes so far,I am planning to make 101 and to have one large display in the gallery.
c.dear - rope display in studio
I have now also got a title for the exhibition – ‘ Tied to nature’ Rope, string and thread made from natural materials so I am making progress, although I am aware there is so much to do!
gathering birch twigs
There have been some moments of sun in between strong wind, rain and snow to gather materials. I am interested in seeking out materials that I haven’t worked with before; some of these are the ferns and the seaweed. You can see more on my blog where I have been doing a different rope each day.
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A trip report, karbunkels and more goings-on …
In this post I will relate about my recent trip down to the Scottish Central Belt – and some progress in the “karbunkel” department (please note the “k”s – this is on purpose: such my “boils” reference the Germanic and the Medieval). This one might take you a little longer to read …
Witchy branch fingers at Carbeth
The big trip seemed doomed that Saturday morning in early January – with snowfall and ice on the ground in Caithness. And indeed, per text message one of the meetings I was heading for had to be cancelled. This meeting was to be for a theatre project, which is scheduled to happen this summer. But it was hopefully one meeting of many to come…
The main reason for the journey, however, was the opportunity to take part in a workshop offered by the Cultural Enterprise Office in Glasgow called “Next Steps” – development advice for creative businesses trading three years or more. That workshop was scheduled to take place on Monday afternoon, the 10th January 2011 –and in order to make most out of the trip South, I had organised to still my creative thirst over the span of a few days.
One of the Carbeth Huts (and yet another gnarly tree)
The first station now was to be the home of the environmental artist Ruth Macdougall. Ruth had just come back from a study trip to Uganda, where she had teamed up with a local artist to collaborate on simple boat building for the community at Lake Victoria. Ruth had built a coracle and is currently working on a curach – both ancient forms of boats, which were used to travel over water and over land (carried and used as shelter). Ruth also introduced me to the Carbeth Hutters Community, her artistic history with them – and the gnarly, old, slightly ragged and enchanting landscape she and the hutters live in. The image above was taken there: twigs and branches like witches’ fingers and hairy lichen (you have read about that stuff before here – inspiring!). From Ruth, I also received a short course in filming (using her professional camera to film a quick “interview” and watch her editing it with professional software – am learning all the time!).
On Monday morning then Ruth and I headed into Glasgow on different missions, but she had a chance for a quick hello to Deirdre – they knew each other through a residency. Deirdre Nelson had kindly agreed to be my mentor within the Hi-Arts “Making Progress” project. Now, Deirdre is a very enthusiastic and inspiring person – and it was such a treat to have her look at images of my work and listen to her comments and suggestions. I filled two pages with notes and ideas to research, alsolots of h elpful and inspiring links (which have set things in motion …).
From her it was only a few steps to a friendly welcome at the workshop. Carol Sinclair led the class. I had met her and – as it turned out – the lady sitting to my right, Melanie (an architect) before at North Lands Creative Glass in Caithness. To my left sat Caroline Dear, partner artist of “Making Progress”. I found the way each of us three sitting there had dealt with the preparation exercise of “mapping” our activities, quite remarkable and unique. It had taken me more time, than I thought it would, but through the workshop it was a bit of an “eye-opener” to myself. I seem to always have a guilty conscience of not doing enough, but boy, do I do a LOT! And don’t want to give up anything (apart from cleaning the constantly dusty studio/showroom, which I obviously cannot give up). Alas, through the workshop I managed to identify a few things, which need to be changed or remedied. And without this session it would have been much harder for me to take the necessary step back in order to see those. I also found listening to other participants’ situations, problems and thought processes extremely interesting and helpful.
After the workshop I had the opportunity to get to know Caroline better – I love her almost ethereal work. And how good, that we had the chance for a one-to-one to find out, that – although our work is so different – we really are on the same wavelength. We both then went for a bite to eat with Deirdre – and I left them to talk about Caroline’s work (Deirdre is also her mentor), while I headed on to Edinburgh.
Through driving rain I made my way to glass artist Carrie Fertig’s studio. Carrie reported about her huge yearly trade fair trip to the US and glass residencies, projects and exhibitions, which she is currently involved in or planning for – some busy and talented lady, she is! Carrie also pointed me to a camera workshop near her house, where I could have my recently damaged camera looked at. Not having this essential tool working properly had started to worry me greatly. Next morning I handed them my camera for investigation – and found out that I need a new one. Thankfully the dithering had come to an end! (and I have a new one by now…)
The road back up to the Highlands was flanked by much snow on the roadside and bathed in sunlight – I arrived in Inverness for a loosely scheduled meeting with the kind Sian Jamieson to talk about – for me – pressing audience development (i.e. facebook) issues. Great, that she was able to fit me in on my way North. She managed to clear up many questions I had – and suggested some things, which I am now using for my research (notably “alerts” – great things, those are!)
Arriving back at my home in Caithness, I managed to throw out the luggage, dump paper and equipment in the boot and got to Wick and life drawing just in time…
Some trip, that was – full of experiences, enlightenment (if I may call it that), catching up, networking and new impressions!
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Ah, but now! Let’s talk about these karbunkel things! Let me set the scene: It is dark outside, the wind is howling around the wee cottage and the rain is lashing against my windows. I am warm and in good spirits. Typical. That is actually, what a lot of my work is about – the bad and ugly made into the good and beautiful. If it still has some of the uncanny in it – great! A healthy dose of humour usually does not hurt, either.
So these “big” and small objects came into being during a hot glass master class at North Lands. They came from a drawing exercise, which was looking at negative space. I am terribly interested in cavities – especially cavities at archaeological sites, normally hidden away from our sight. But I have also always been interested in scourges and diseases blighting our very existence as human beings. The karbunkels are an amalgamation of those ideas. And again, I tried to make the uncanny into something beautiful. They are only objects just now, but will become body adornment in due course. Below are ideas from my sketchbook:
Oh, and one of these karbunkels has already made it into my weird world as a real, wearable object: Intro the Lichen Slug Ring (a family member of the Lichen/Fungi Rings, the firstborn of which has not been photographed yet). The beastly creature is made from textured Sterling Silver and dark Blown Glass.
Lichen Slug Ring, February 2011
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Lichens and fungi…
Boy, Caithness got its hooks in me! I am just back from an afternoon walk along cliffs, with dramatic light plus some getting lost in micro lichen vegetation and almost “losing the plot” over dizzying heights.
This blogger is a beginner, be warned – also an “incomer” (I hail from Bavarian Germany – these people are known to fall in love with the wilds of Scotland …) – and a maker (of body adornment with precious metals, studio glass and textiles). This place has become my home quite a few years ago. And it is seeping through my work!
My main creative interest is the human body – also anthropology, decay, funeral archaeology and infectious agents – with some humour thrown in. At the moment I am developing and making work for a small exhibition within the Making Progress craft programme. The working title so far is Bones and Beasts.
Lichens are a combination of fungi and algae (or bacteria) – and fungi are intriguing beings anyway: They grow in many forms, sizes and colours, strictly are neither plant nor animal, can be parasitic (and potentially dangerous: think mould), can be living in symbiosis and/or be quite useful (bakers yeast and antibiotics spring to mind). They spread through mycelium and spores and seem to have something weird, alien and disconcerting about them – absolutely fascinating to me! I would put them into the “Beast” category…
These are components for one of the pieces I have started to make: a ring inspired by lichens and fungi.
In autumn I have made some blown glass objects for more “Beasts” to wear – at the moment these are lovingly called “carbunkles”, but I will talk about their treatment next time…
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Crafting Together
Crafting Together
Many of our projects address the need for our makers to get together; sometimes in a formal way through events such as Makers Days and at other times it just happens that the people involved hit it off and before we know it an informal group has emerged with very little intervention on our part!
Feeling isolated can be a real problem when you live and work in a remote area and anything that can be done to help with this is a really positive and essential aspect of the work we do.
Informal groups have sprung up from Makers Days, our visit to Stroud International Textile Festival, from our Making Progress mentoring project and many of the research visits we have arranged.
Emails and social networking go a long way but sometimes you can’t beat a good blether over tea (and cakes!).
Our latest visit to London and Craft Central brought this home once more.
Members of Craft Central are part of a network of UK makers who can rent studio space in two wonderful buildings in Clerkenwell and participate in many of the events organised there including Open Studio selling days and exhibitions as well as business support and workshops. For obvious reasons a large number of the makers live and work in London but some (and that includes several from Scotland) use the organisation as their London studio, giving them an affordable way of reaching new markets but also the opportunity to meet other members.
Makers that I spoke with said that having the support system of the others in studios near by is one of the most important aspects of membership.
Our makers don’t often have such a luxury so we need to do all we can to put our own systems in place.
Through our Mentoring to Market programme we are delighted to be able to now have the opportunity for our makers to become members of Craft Central and to benefit from a London base, new contacts and networks.
We will be featuring more on this development on the website but it is one positive way of increasing our profile and gives our makers a chance to work together and with a new group of people.
As we stopped to take a break at the end of a hectic day – and yes more tea and cakes were involved – we reflected on how to make the very best of our London connections.
We are so fortunate to be based in an area that inspires and gives our makers’ work such a strong identity and now we can dip into city life and all the new opportunities that this will bring.
Throughout the next few months we will be strengthening our London links and in May 2011 we will be showing our makers work to this new audience with our Highland Showcase.
I can’t wait to see the results!
After such an inspiring trip it was back to battling snow, delayed trains, flights and the cold road home and the reality of the distances involved between London and the Highlands. Hopefully we can do something to make this less even if we can’t control the travel aspect!
Pamela Conacher
November 2010
www.craftcentral.org.uk
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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
Topics
Crafts Links
- Bishoplands Educational Trust
- Craft Central
- 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
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