Craft Finder Blog

Meet the collector: Sara

Sara Unwin, manager of Galvanize Sheffield, the contemporary metal festival, talked to Janet Paske about her collection. Please imagine chuckles and giggles in the background – there were lots of them. Sara’s created a personal collection on Craft Finder too, showing some of the pieces that that have taken her eye.

What was the first thing you bought and what attracted you to it?
I can remember as a teenager visiting craft fairs and events and seeking out craft, but the first thing I bought which was expensive was a ceramic bowl by Helen Beard. It was a fabulous, big, deep bowl, hand-painted free hand, with lovely quirky little whimsical figures. It tells a different story every time I look at it, depending on what is going on in my head. I saw it at the Cupola Gallery and I was able to buy it because of Own Art, the first time I used the scheme. I saw it and thought “I love that. I want that to come and live with me” and Karen (the owner) said, “It can”.

Bowl by Helen Beard

Tell us about your favourite piece of contemporary craft.
One of my favourites is a set of bowls by Victoria Kershaw, a silversmith based at Butcher Works; it was part of her MA collection. It’s a set of three little shallow bowls in silver plated base metal sitting on concrete and polyurethane rubber plugs. What I like is the combination of materials. They’re like the three bears, a big one, a middle one and a little one. I’m quite missing them as we’re having work done on the house so they are packed away in crates, in newspaper. I’m looking forward to them coming out again.

©Paula Kirby

Bowls by Victoria Kershaw

How do you go about finding contemporary craft?
It’s a magpie thing really. If I go to a different city, away on holiday, to the seaside or abroad I look, and more and more online, to see what there will be there. I have bought a few things unseen but I usually like to touch things before I buy. I think what you’re doing is great – you get to see something you weren’t expecting to. It’s nice to store things up so when I do go somewhere I can find that person out. I squirrel them away.

How do you decide what to buy?
It’s that heart thing. No logic. I never think I need something to go there, or for that person. It’s usually a response to something I just fall in love with, whatever material it’s made in. If it’s a special birthday, perhaps I decide differently. I like buying from people I’ve met, who I can have a dialogue with. It means more.

Do you consider yourself a collector of contemporary craft?
I didn’t think so until I started to talk to you. I guess I am. But even I now, it doesn’t seem to have a theme, other than I like metal, shiny metal.

How about thinking of the theme being you?
Ooh, yes, I like that. I was in Lucy Coyne’s studio here the other week and I felt like I was inside my own head. There was a bit with the dried seaweed, the bit with the shells ….. I’d love that space in my home where I could do that. Maybe subconsciously that’s what I’m thinking.

What else does your collection include?
The most recent piece I’ve bought is by Hilary Simms, called “Nautilus”, a piece of ceramics. It’s a raku piece with a wax finish, with a really jagged edge. I always have to touch it. It has a matt black interior. She was on holiday in the Gambia and it was inspired by her time on the beach when she was alone.

©John Coombes

"Nautilus" by Hilary Simms

I like the craft of knife making too. A fantastic maker, Stuart Mitchell, based at Portland Works, has made a knife for my husband’s 40th. We had a discussion about what it would be for, what it would be made out of, how it would look. I’ve got a few knives. http://www.stuartmitchellknives.com/

I also have lots of jewellery. Today I’m wearing a ring by Jennie Gill, not her usual style, but made to celebrate Persistence Works 10 year birthday in 2010. It still has the feel of the natural world, a cliff-y, rock-y edge.

I have many pewter pots. I’ve realised that I tend to use my metal tableware but my ceramics tend to be more decorative. I have some pewter designed by Jane Adbi of Wentworth Pewter, and some designed by Miranda Watkins. I’ve also a lovely necklace which I wore to the opening of Galvanize made by Vanessa Fielder. It’s a student piece for which she won a prize. It’s a series of heart shapes, in fact each is a part of a heart, not a whole heart shape. She’s used copper wire to create the texture in each piece.

I’ve also commissioned a “runcible spoon” from Keith Tyssen. It’ll have a lovely big oval bowl with a really over the top handle on it, to use on special occasions. I once talked to someone who told me they have a spoon which they use just to heat the brandy for their Christmas pudding and I thought – “I want one”.

©Keith Tyssen

"Runcible Spoons" by Keith Tyssen

Do you visit studios as part of your collecting? If so, what makes your visits interesting?
Yes. It’s about meeting people, finding out what motivates them and how they do it. My husband likes to take things apart and see how they work. He likes to understand the steps - “so you do this, for how long? At what temperature?” I’m more “oh, what’s happening now? Oh, you used fire”, that’s enough for me. I’m interested but not so analytically. I’m much more interested in why something’s been made - the story behind it.

Tell us about one of your favourite makers. What connects you to their work and why are they a favourite?
I always come back to Victoria Kershaw. She made our wedding rings so there’s a connection there. It was really nice that she could do that for us. But it’s also her use of materials, the beautifully fine silver with textured concrete, of lace, with metal. It is stunning.

Obstacles such as money and space aside, what piece of contemporary craft would you most like to have?
A huge lump of chased silver, a pot by Hiroshi Suzuki. Just silver, perhaps Britannia silver (i.e so 958/1000 of it is silver compared to sterling silver which is 925 parts silver), with that lovely sheen. I’d have it somewhere really obvious, in the front room, where I could touch it and look at it all the time.

©Adrian Sassoon

Aqua Poesy V (mini) 2012, Hammer raised and chased, fine silver 999.

Who does the dusting in your house?
No-one.

Do you have any tips for aspiring collectors?
Get out and meet people and find why they do what they do.
Don’t dither. A couple of times I was away and I’ve regretted not buying something when I saw it and I knew I wasn’t going back. Use your heart.
Don’t let anyone say you can have too many pots or too much metalwork.

Notes

Galvanize Sheffield runs until Friday 31st May. Read more about the festival and see the full list of events.

You might also be interested in our other collector interviews:

Meet the collector: Anne

Meet the collector: Anne-Marie

Meet the collector: Jenifer

Meet the collector: Andy Christian

To find contemporary craft on show near you, use our Find Craft search, and visit our online personal collections. Perhaps you will feel inspired to create your own as you browse through our makers.

Behind the scenes: Keith Varney on Hothouse

Have you ever wondered how someone makes a successful career as a designer-maker? Not only do they need to be able to design and make but they also need to be able to run a business. Recognising the difficulties, the Crafts Council created its Hothouse programme, a business support scheme for aspiring designer-makers.

Keith Varney was an accomplished designer and cabinetmaker seeking a new challenge and direction in life. Here he is, in his own words, telling us about his new career as a ceramicist and how the Hothouse programme has helped him.

"It has been my dream and ambition, since returning to education in 2005, to establish a career as a craft practitioner and to succeed in producing the work that represents my interests and ideas. Along the way there have been many discoveries, challenges, breakthroughs, a few wrong turnings, some big mountains to climb and lots of hard work! But it has all been very rewarding.

Since graduating from Bath School of Art and Design with a BA in 3D Design: Ceramics in 2011, it has been a bit of a juggling act trying to develop my practice, alongside working 3 days a week as a technician and tutor in the Department of Art and Design at City of Bath College and the demands of family life with 4 children. This is very typical for many makers in the early years, though I have been very fortunate to find work that relates to my practice.

Photo: Keith Varney

Thrown porcelain vessel: Ripples by Keith Varney

As a new maker emerging onto the craft scene, running a creative practice can seem more than a little daunting at first. A trip to one of the many excellent craft fairs around the country will quickly reveal the high quality and diversity of work available and the professional attitude of the makers themselves. Professional practice is now taught as a standard part of university arts courses, and while this is a good introduction for those wishing to start a career in the crafts, generally it is not covered in sufficient depth to enable makers to succeed.

The Crafts Council Collective Hothouse scheme, now in its third year, is designed to address this by providing a structured programme of creative and business support over a 6 month period, with the intention of creating a sustainable and successful practice. The skills taught on the programme are vital to succeed in the craft sector and cover many areas such as identifying the core values of the practice, business skills, planning, presenting your practice through the written and spoken word, building networks and of course marketing.

In January, Hothouse 3 began with 40 very excited makers meeting in London for the first part of this incredible journey. You could feel the buzz in the room as these talented new makers met for the first time. It has been very intense to be part of Hothouse; it certainly lives up to its name.

Photo:Kim Norton

Hothousers in action
I am currently four months into the programme and it has been a fantastic experience so far, I still feel very excited to have been selected and the in-depth support has been invaluable. Each session builds on the last and addresses different issues that are vital to building the skills and confidence that will help to sustain and build the business for years to come. We have had excellent advice and training from craft industry specialists on many levels, some of which will take some time to integrate into my practice and in many cases this provides more questions than answers. After each Hothouse day I leave with my head spinning with so many ideas, it usually takes a quite few days of reflection and tough thinking for it all to settle especially as I normally have to go back to work either in the studio or at the college the next day.

Photo: Keith Varney

Hand built–porcelain sculpture: Concave/Convex, by Keith Varney

The Hothouse programme also provides 1-to-1 sessions with a peer buddy and also a mentor. The buddy is another maker who is a few years ahead and who can provide help and support through these early stages. I have been very fortunate to have Sasha Wardell as my buddy. She is a big help and I really value her advice and support, especially as I recently decided to work in bone china for my new work, which I’m hoping to launch soon. Sasha has worked with slip cast bone china throughout her career and is one of the leading ceramists to work with this very challenging material. With the last 2 months of the programme left and eagerly waiting to find out who will be chosen as my mentor, I feel very excited about the possibilities.

Photo: Sasha Wardell

Shoal vessel by Sasha Wardell

I know that the next few years will be difficult and it will take a lot more hard work before I become an established maker and can earn a good living from doing what I love, but I feel very positive that it is possible and I will have the skills and knowledge to make this a reality."

Notes

Other Craft Finder makers on the Hothouse programme include Naomi Robinson (ceramics), Jill Shaddock (ceramics), Drew Markou (mixed media) and Cabbage is King (jewellery)

Meet the collector: Andy Christian

We're delighted that Ceramic Review has allowed us to post this article written by Andy Christian which first appeared in Off Centre in issue 260, Mar/ Apr 2013. Andy Christian is a writer, exhibition organiser, and advisor.

I have been paring down my collection of ceramics after being accused by my daughter of having Womble-like tendencies. It has made me consider each piece and think about which of them has ‘lasted’. Having taken out those that fail that test, it’s easy to move them on and hope someone else finds enjoyment in them. We collectors and potters are rather short-lived, and it’s most likely that the pieces we have acquired will go on to find some other owner (or even some other use or status) long after we have rejoined the clay beneath their feet. Do our collections make us easy to read like poking around people’s books and their music collections? Grayson Perry would be right onto those of us who collect studio ceramics. We would be exposed for our desire to align ourselves with the commitment to the handmade and with the ‘tasteful’ middle-class nature of our choices. Could I live without my ‘clutter’? The ultimate question that I have asked myself is: If I were to be driven out from our house tonight, but was allowed to save just one piece, which one would it be? I set about making a shortlist.

Andy Christian

What would you rescue? It might help if you were to make a list of five or six pieces and then cut it down from there. This process becomes a lot more interesting if you share it with other potters and collectors. There will be those catholic collectors whose holdings are surveys of great names of the last thirty years or more. There will be those whose temperance or impecuniousness has allowed them just a few carefully considered items. There will be potters who have always been enthusiastic about bartering their work with others. There too, will be the brilliant, obsessive collectors like Bill Ismay whose house became deeply littered with treasures winkled out from all over Britain. And there will be those like Lucie Rie, who rarely found room for pots other than her own or Hans Coper’s.

Inevitably perhaps, my shortlisted pots all have stories. First of all there is an ash-glazed Jim Malone jug. It was given to me in payment for selecting a Northern Potter’s exhibition in about 1984. It has served well at the table, as a vase, and in its resting place on a shelf. It has a quality of gentle beauty and practical use. Second is a low-fired, red-pigmented Western Han figure of a man that stands on my office windowsill. Like all his brothers, he has no arms because they were made of wood. Third is a little salt-glazed jug by Walter Keeler sent to me after I mailed him a long, spouted oil can. Fourth is a pouring vessel with a single handle by Lucie Rie, chosen for its clarity and economy. Fifth is a small bottle by Marianne de Trey with a surface like that of a bird’s egg. Sixth is a ‘Kitchen Ming’ plate bought from the Gordon Reece Gallery, a calligraphic tour de force. Seventh is a large square dish with volcanic glaze and a Braque-like bird by John Maltby. Eighth is a dish with a pulled handle and Tang dynasty colours by Takeshi Yasuda. But this is becoming a long list.

Walter Keeler – Salt-glazed stoneware jug, c1995, H12.5cm, and

Richard Batterham – Lidded pot, porcelain, c1990, Ø7cm

I notice that I did not shortlist anything because of its material value. There are lots of things that are clamouring to be on my next list. But can I get my shortlist down to just one? Then I remembered the lidded porcelain pot I use for English mustard made by Richard Batterham. It fits very comfortably in my hand and would slide into my pocket. That would be my chosen piece. Which would be yours?

Beyond this, just imagine if you were to be in a similar position to save just one thing from the vast ceramic collection at the Victoria and Albert Museum. What would you save for the nation and for posterity? What starting point would it allow the next generation of makers and collectors? It would be a huge responsibility. And then, of course, there are the books and the recorded music, also reduced to one of each; the burden would grow.

Notes

Potters, collectors, enthusiasts, students, teachers, critics, gallery owners, artists and designers all read Ceramic Review for its mix of practical and critical features on contemporary ceramic art and craft, around the world. Visit Ceramic Review if you'd like to receive the magazine, which is published 6 times a year. It costs from £36 for a UK subscription.

Learning craft skills: using a wood kiln

Penny Withers, a ceramicist, talked to Jessica Pallett-Delaney about the process of using a wood kiln.

Penny is a member of “Manor Stokes”, a group of 13 potters from Yorkshire. The group uses the wood kiln built last year at Manor Oaks, the studios run by Yorkshire Artspace, in Sheffield. Yorkshire Artspace partnered with Green Estates, the land owners, to raise the funds.

The newly built wood fire kiln

The Wood

Prior to firing the kiln, the wood needs to be prepared. The wood is cut up into long, thin strips which are roughly half a metre in length so they can fit into the kiln. If the wood is slightly too thick, it reduces the temperature when it is added to the kiln.

The choice of wood is very important when using a wood kiln. Manor Stokes use offcuts from furniture makers because the wood is very dry and produces a lot of heat. The wood needs to be seasoned too, as this is vital for a smokeless fire.

Firing

There are usually 2 firing stages, a “biscuit” firing and a “glazing” firing.

Most people do a biscuit firing in an electric kiln and the pots reach temperatures of up to 1000°C, lower than the temperature of the final glazed firing. The biscuit firing makes the pots a lot firmer and easier to handle, especially when applying a glaze. Without the biscuit firing the pots are very fragile and would easily chip or break if knocked.

Penny and many other makers tend to use stoneware rather than earthernware because of its durability: stone is harder than earth and this is reflected in the clay.

Penny is planning an earthenware firing in the kiln which would be much gentler and at a lower temperature.

The colours are added in during the glazing process, essentially painting the surface of the clay. Before the glazing firing the colours tend to be shades of brown and red and are very dust-like. If you didn't know much about pottery, you probably wouldn’t even know that they have been glazed.

The amount of oxygen in the chamber affects the final look of the pots. The wood kiln gives a different effect than an electric kiln because the flames burn without oxygen and oxygen is drawn out of the clay instead. Packing the pots tightly will also have an effect on the outcome and colours of the pot.

These before and after pictures show how the glazed colours develop during the firing.

Packing the kiln

The potters gathered on Saturday 9 February to pack the kiln.

Potters at Manor Oaks

The kiln usually takes about 160 pots in the chamber. On this day 5 or 6 pots didn't quite fit in.

Pots are placed on the bottom shelf within the chamber then the props are added so another shelf can be stacked on top. The shelves are built all the way to the top of the chamber where the tallest pots are placed.

Pots in the chamber

Once the pots are loaded the door is bricked up.

Firing

The firing was meant to take place the day after the kiln was packed. Because of the poor weather forecast it had to be delayed and the wood kiln was lit the following Saturday. Potters travelled from Chesterfield, Doncaster and even London to take part in the firing, so it was important that they didn’t get cut off at the studios. The Manor Oaks Studios, Cafe and Discovery Centre were open during this period, so members of the public were able to visit the packed wood kiln and see how things worked.

The firing took place over 12 hours. The fire is lit at the bottom of the kiln, and slowly warms up.

Early stage of firing.

The fire and heat is contained within a brick oven with no oxygen so the temperature keeps increasing. On the front of the kiln there are some loose bricks, which can be removed to let in air and oxygen in. It's a little like a pipe organ, which controls the flow of air.

The front of the kiln showing the loose bricks that can be removed

The fire is contained in the front half of the kiln. The door at the side of the kiln opens and wood is fed in to the top every few minutes. In the door there are some bars, like a grate, where you place the wood to stop it falling down.

Stoke hole/door in side of kiln

The wood being fed into the kiln

A wall separates the fire and the chamber where the pots are contained. There are holes at the bottom of the wall so flames come through from the fire and into the chamber. The flames work their way up through the pots and out of the chimney at the top.

There are about 6 sets of “Orton cones” in the chamber during the firing process. These cones are made of glaze materials which melt at different temperatures and they allow you to see how quickly the heat is rising. You keep on firing till the cones in the coolest spot, at the top at the chamber, start to bend.

©Lakeside Pottery

Orton Cones

Unpacking the kiln

This stage usually takes about half a day and takes place at least 2 days after the fire has gone out. It is very exciting to see the finished outcomes of the pots as the results are always different to what is expected.

Evaluating the results

Penny says she explores all the firing opportunities in her own work as it extends her palette of colours and outcomes of work.

Penny's vases from the wood fire kiln.

Notes

The firing of the wood kiln take place 6 times a year and anyone can get involved in the process, with a small membership fee. The next firing will be taking place at the Open Studios event, at the Manor Oaks Cottages, near Manor Oaks Studios. The kiln will be packed on May 4, fired May 5 and unpacked May 11. For more information contact manorstokers AT yahoo.co.uk

Members of the Manor Stokes are Penny Withers, Mark Smalley, Jim Simpson, Anne Stewart, Krys Craik, Mel Kingsley, Kathy Watson and Sarah Villeneau, Andy van Vliet, Ken Taylor, Tony Remington, June Skinner and Ged Carney.

Our top craft fairs in summer 2013

Here's our list of the contemporary craft fairs & other events taking place this summer which we think are well worth a visit. There are some tough choices.

Potfest In the Peak, Bakewell 10 – 12 May

Collect, London 10- 13 May

Potfest at the Palace, Perth 7 – 9 June

The Contemporary Craft Festival, Bovey Tracey 7 – 9 June

Earth and Fire, Rufford 21 – 23 June

Goldsmiths' Pavilion, London 26 -29 June

Art in Clay, Hatfield 5 – 7 July

Art in Action, Wheatley 18- 21 July

Potfest in the Park, Hutton in the Forest 26 – 28 July

Potfest in the Pens, Penrith 2 – 4 Aug

Celebration of Craftsmanship and Design, Cheltenham 17 – 26 Aug

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Potfest in the Peak

Meet the potters and get inspired. You'll find the hustle and bustle of a potters' market here, with established professional potters alongside the next generation. The aim of all Potfests is to bring together studio ceramicists and the general public.

When is it?

Friday 10 May – Sunday 12 May, 10am - 5pm

Where is it?

Bakewell Agricultural Centre, Agricultural Way, Bakewell, Derbyshire, DE45 1AQ

How much is it?

To be confirmed

More Info

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Celebrating its 10th anniversary this year, COLLECT brings together the world’s finest galleries representing exceptional work of museum-quality from their portfolio of over 400 artists.

When is it?

Friday 10 May – Sunday 12 May, 11am – 6pm

Monday 13 May, 11am – 4pm

Where is it?

Saatchi Gallery, Duke of York's HQ, King's Road , London, SW3 4RY

How much does it cost?

Tickets in advance are £12, or £17 on the door.

More Info

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Potfest at the Palace

Potfest returns to the Perth area for its 16th year in Scotland. This year’s show is once again in the wonderful grounds of Scone Palace, the home of the Stone of Destiny, the crowning site of former Scottish kings. Expect a bustling market of studio ceramics.

When is it?

Friday 7 June – Sunday 9 June, 10am – 5pm

Where is it?

Scone Palace, Perth, Scotland, PH2 6BD

How much is it?

To be confirmed

More Info

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The Contemporary Craft Festival has become one of the largest and most prestigious shows to be part of in the UK. The Festival has built up a following of over 8000 visitors and represents nearly 200 of the UK’s finest designer makers which includes the One Year On marquee.

When is it?

Friday 7 June – Sunday 9 June

Where is it?

Mill Marsh Park, off St John's Lane, Bovey Tracey, Devon, TQ13 9AL.

How much is it?

Ticket prices range from a concessionary ticket at £7 to £22 for a family ticket. Cheaper tickets are available in limited numbers.

More Info

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Earth and Fire is one of the country's premiere ceramic events and is truly a celebration of clay in all its forms. Over a hundred potters from across the UK and Europe come to Nottinghamshire to sell direct to the public from outdoor market stalls.

For 18 years collectors, gallery owners, enthusiasts and the general public have flocked to Rufford to meet and talk to the potters selling everything from garden planters and sculptures, to bowls, pie dishes, teapots, mugs, plates and egg cups.

When is it?

Friday 21 June – Sunday 23 June, 10am -5pm.

Where is it?

Rufford Abbey Country Park, Ollerton, Nottinghamshire, NG22 9DF.

How much is it?

To be confirmed

More Info

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A summer showcase for the remarkable talents of contemporary British jewellers filled with stunning cutting edge creations in not only precious metals but incorporating an exciting element of varied mixed media.

When is it?

Wednesday 26 June – Friday 28 June, 11am – 6.30pm

Saturday 29 June, 10am – 6pm

Where is it?

Somerset House, Strand, London, WC2R, 1LA

How much is it?

To be confirmed

More Info

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Art in Clay Pottery and Ceramics Festivals showcase some of the finest ceramics currently being made by individual makers in the UK and Europe. Art in Clay Hatfield is an outdoor summer event held in marquees in the beautiful parklands of Hatfield House. A large event of over 190 exhibitors, which also includes a full programme of talks and demonstrations, a Throw-a-Pot marquee if you'd like to have a go and a Make and Take area for families to get their hands on clay and be creative.

When is it?

Friday 5 July & Saturday 6 July, 10am – 5.30pm

Sunday 7 July, 10am – 5pm

Where is it?

Hatfield House, Hatfield, Hertfordshire, AL9 5NQ.

How much is it?

Adult tickets are £9, concessions £8.50 and children under the age of 15 are admitted free.

A two-day ticket is £15 and a three-day ticket is £22.50.

More Info

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Inspired by the simple principle that people are fascinated when artists and craftsmen openly demonstrate their skills and discuss their work, Art in Action was born. Approximately 25,000 visitors come over four days to learn, buy and enjoy, exhibitions, classes and performances of 400 demonstrating artists, teachers, musicians and performers.

We're going to be there this year, in the Publications tent, so come over and say hello. It will be lovely to meet you.

When is it?

Thursday 18 July – Sunday 21 July, 10am – 5.30pm

Where is it?

Waterperry House, Waterperry, Near. Wheatley, Oxfordshire, OX33 1JZ.

How much is it?

There are a range of ticket prices depending on the length of visit. It's cheaper to book in advance.

More Info

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Potfest in the Park

An amazing day out amongst some of the most creative makers in clay from all over the UK, Europe and beyond in the magnificent surroundings of Hutton-in-the-Forest. Over 100 exhibitors are invited from all over Europe and beyond, all with very distinctive individual styles and a shared passionate about working with clay.

The venue, Hutton-in-the-Forest, is a cultural destination in itself with its walled garden, topiary terraces and woodland walks. The ceramics festival takes place in and around marquees in front of the castle, with the potter’s competition pieces on the lawn, juxtaposing ancient architecture and modern ceramics.

When is it?

Friday 26 July – Sunday 28 July, 10am – 5pm.

Where is it?

Hutton-in-the-Forest, Penrith, Cumbria, CA11 9TH.

How much is it?

Entry for adults is £6 per person and includes admission to the gardens.

Children that are accompanied by an adult are admitted free.

More Info

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Potfest in the Pens

This is the only unselected show in the UK giving an opportunity to see the work of the well-established alongside the next generation. Up to 130 potters will be taking part in this, the oldest potters' market in the UK. The result is an exciting mix of the sophisticated and the raw power of the next generation.

No art hype, no gallery glitz, just potters and public enjoying each other's company in a down to earth setting.

When is it?

Friday 2 August – Sunday 4 August, 10am – 5pm.

Where is it?

Skirsgill Auction Mart, Skirsgill, Penrith, Cumbria, CA11 ODN.

How much does it cost?

Entry for adults is £4, for seniors is £3.50. Children accompanied by an adult are admitted free.

More Info

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Celebration of Craftmanship& Design is the largest selling exhibition of bespoke fine furniture in the UK and has run annually since 1995. It showcases the work of around 70 of the finest craftsman in Britain and the World each year. The furniture makers are most likely to be available to talk to on the first Saturday; afterwards it is just their work which is on display. The emphasis is on furniture however a small number of designer-makers from other disciplines also exhibit each year.

When is it?

Saturday 17 August to Monday 26 August, 10am – 4pm

Where is it?

Thirlestaine Long Gallery, Cheltenham College, Bath Road, Cheltenham , Gloucestershire, GL53 7LD

How much is it?

To be confirmed

More Info

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Learning craft skills: making a ring

Before Alison left her Liaison Worker role with us, she took part in a jewellery workshop run by Chris Boland. Here she shares her experience and observations.

I see beautiful contemporary craft almost daily – either at work or at home, mostly at work. Lucky me! But for some time now, my fingers have been itching to have a go at making something again myself, so I recently seized the opportunity to take part in one of Chris Boland’s one day jewellery workshops, here in Sheffield.

I trained in ceramics, but it’s been a long time since I got my hands dirty, and I have never worked with metal. Clay and silver have very little in common, except perhaps that they both look pretty unremarkable before they have been transformed by the hands and vision of a maker. This goes for other crafts too, as do many of the observations I made during my day.

The object of the workshop was to make a stone-set silver ring, so the first task for me and my fellow ring-maker Tessa was to choose a stone. This could well have been the most difficult part of the whole exercise: in the presence of numerous colourful little sparkly things I changed my mind about 3 times, but finally settled on a ‘zircon’ of a yellowy-green hue.

We then had to measure our fingers, and bend a strip of silver to the same size, which wasn’t as easy as it sounds as it also had to be round, or thereabouts. But a bit of bending, tapping and sawing later (not necessarily in that order), and some help from Chris, we both had something that looked ok.

Taking part in a workshop for just two people worked really well for me: we had one-to-one attention but could watch each other and share the challenges and triumphs too.

Our next challenge was to solder the ring using the tiniest weeniest little piece of solder, which had to be balanced on the join. Sneezing and coughing were not an option and breathing was kept to a minimum. Steady hands at the ready, and an eye for the almost invisible, we began to play with fire. There were a couple of instances when Chris nearly lost an eyebrow but we all got through this unharmed, and moved on to the next step of creating the setting.

This was formed from a flat strip of silver, which was carefully teased with a pair of fine pliers to fit the profile of the stone – mine was oval. A smaller oval – on which the stone would sit - was then made to sit inside the outer one. Again, this wasn’t easy; I have always prided myself on attention to detail, but this was something else. Handling the tools and forming the shapes was challenging enough, but having the critical eye to see exactly what needed doing really stretched me – and my eyeballs! I asked Chris if many jewellers retire in middle age (due to changes in their eyesight), but he assured me that many of them just make bigger and bigger work as they get older!

After some further sawing and soldering, we each had a setting for our stone, as snug as a bug in a rug, thanks to Chris. But before we could actually set the stone, we had to solder the setting to the ring. By this time, my confidence was building with the soldering gun, but I began to realise that all this looking, all this attention to detail, was actually really tiring. Not only do makers do what they do with remarkable skill, but they see really skilfully too, which all takes an incredible amount of patience and time to learn.

Setting the stone involved some very precise tapping (which may not be the technical term!) and yet more careful observations, as we teased the top edge of the setting over the very edge of the stone. Chris could see irregularities which eluded me, and knew exactly the angle at which to strike them, with just the right pressure.

As our rings neared completion, I realised my surprise at just how many parts of the process there were – and there are a few I haven’t mentioned, such as pickling in acid after soldering. I really had no idea how a ring was made or a stone was set.

To have made my first ring in less than a day felt like an incredible achievement, owing to excellent tuition and a great deal of assistance. I have some previous experience of how long it takes to learn a skill and become proficient at it, but this was still a real eye-opener for me (and I also know how easily skills can be lost if they are not practised). When we buy from a craft maker we are buying a little piece of their journey – their vision, the learning of skills, their all-important mistakes, the hours they spend and their perseverance. Rome wasn’t built in a day – and neither really was my ring – it has years of Chris’s experience embedded in it.

If you are interested in taking part in a workshop or course – and I would highly recommend it – then you can use the FIND CRAFT search and tick the ‘Classes and Courses’ box to see what’s available. Chris’s workshops run regularly on Saturdays, but other days can be arranged. Course details (if offered by the maker) can be found on the Events tab.

If you enjoyed this article you may also be interested in Behind the scenes: Emma Paragreen on hallmarks, an introduction to what the marks on jewellery and precious metals really mean. Emma works at the Sheffield Assay Office.

Meet the collector: Jenifer

Jenifer Wall, jeweller and metal worker, and co-founder of a jewellery gallery and studio, talked to Janet Paske about her collection.

What was the first piece of contemporary craft that you bought, and what attracted you to it?

The first thing I acquired was at college because we tended to do a few swaps. But the first thing I actually paid money for was a Jessie Higginson vase; she makes slip cast vessels. We were at college together. I bought a piece from her, a beautiful vase. It was probably a second as I was straight out of college and didn’t have any money. I still have it, it’s lovely, a sort of turquoise.

©Jessie Higginson

Group of vases by Jessie Higginson (1998)

And your favourite piece?

One of my favourites is a functional piece and it’s a Mark Pedro de la Torre lamp. I think one of the reasons that I love it is just because I use it every single day; it’s one of the main lights in the living room. Every time I put it on I look at it and think how pleased I am with it. It’s a plain sludgey greeny brown colour. I think it’s so lovely to use something every day, like when you have a nice mug and every time you pick it up it’s quite pleasing. It’s nice to touch. I think when you’re a maker you’re quite drawn to things you can touch.

How do you go about finding craft?

Well, mainly because I’m in the craft business, and I do craft fairs myself, I always have a wander round, see what else is there; I’ve been doing craft fairs for about 16 years now. But also word of mouth, open studios, craft fairs, craft magazine, I don’t find a lot on the Internet, it’s usually things I’ve actually physically seen…

How do you decide what to buy?

You just see things you love, it’s as simple as that really. Obviously finances come into it, I’ve seen things I’ve loved and not been able to buy them. I wouldn’t say my collection is themed, I don’t necessarily look at it as a whole, you couldn’t put it in a gallery as a whole because it’s a little bit random in places. You don’t buy something because it will go with what you’ve got, but just because you really love it, or will love using it a lot. I have about three of Katie Mawson’s scarves because I just love wearing them, and they wear really well.

©Katie Mawson

Selection of Katie Mawson scarves

Do you consider yourself a collector?

I haven’t considered myself as that ever. It was only when we saw your tweet about it that we started discussing amongst the three of us what constituted a collector – John Moore was in [and Sam Maund who co-runs the gallery with Jenifer]. John said, ‘Well, what’s a collection – probably 3 pieces or more?’ And I thought well actually, I’ve got a lot of ceramics, and jewellery and textiles and other pieces, so maybe I am a collector? I think it’s probably just an idea we have in our minds, that a collector is someone much more worthy of the term, who has been collecting things perhaps because they have a perceived value. Not someone like me who just seems randomly to buy things because I like them.

I don’t feel any different, being described as a collector, I still wouldn’t describe myself as that really, even though I suppose I do have a collection. Do you describe yourself as a collector?

Not at all, but I’ve got lots of things, in exactly the same way as you described. But perhaps if I am a collector, that’s just another legitimate reason for buying something, I don’t have to feel so guilty about it – I’m a collector, that’s what I do [big smiles]. Perhaps we are all collectors – or curators – creating something around the theme of ‘us’?

There probably is something that ties them all together, that perhaps we can’t see. Like when you make work, little things pop out in your work, sometimes you recognise them and sometimes you don’t, something you keep going back to, a texture , a line or a curve or something. I think it’s the same with the things we buy as well.

So going back to your collection then, what other pieces do you have?

In terms of functional things, I have some ceramic pieces by Tavs Jorgensen - he was working at Dartington pottery. Last time I looked him up he was working as one of their main designers. I think he would probably describe himself more as a designer than a maker. I’ve got some of his ‘toucan’ jugs, on display in the hallway, and a big bowl which I use on a really regular basis.

I’ve also got some pieces by Rebecca Gouldson. They are etched metal wall pieces, with a very beautiful texture, I’ve got three small pieces made out of copper, which is silver-plated and etched into. They are almost like little landscapes. I love metal, I’m always drawn to metal textures. I’ve got two other metal things which I love – a Sarah Parker-Eaton brooch – which was actually a work-swap. And then I’ve got a Pamela Rawnsley spoon – she’s quite well-known.

©Rebecca Gouldson

Rebecca Gouldson etched metal panel detail

©Pamela Rawnsley

Vessel by Pamela Rawnsley

And I’ve got a few pieces by Louise Hibbert . Her salt and pepper pots work really well; I’ve had mine about ten years. [At this point we learned that over-tightening your salt or pepper grinder can cause irreversible damage, a handy tip if you need an excuse to buy new ones].

©Louise Hibbert

Louise Hibbert salt and pepper grinders

I’ve got a Claire Henshaw glass vase. I’m not always that keen on glass as a medium, but hers have a very matt surface. I bought it from the Hereford Craft Fair a few years ago; it’s a really good show, high quality and a nice venue.

Any other pieces you want to tell us about?

I’ve got lots of lovely jewellery, some Clare Hillerby, Ruth Wood, and John Moore. And a lovely Rauni Higson bangle, her work is amazing. I would love some bigger work but have had to content myself with a bangle. And Ruth Tomlinson is someone I really love too, I’ve only got a pair of earrings so far, but I hope to have more of that one day. Her work is really outstanding.

©Shannon Tofts

A Necklace by Clare Hillerby

©Ruth Tomlinson

Earrings by Ruth Tomlinson

Oh and the Tanya Gomez – actually that was quite a big purchase, it’s a huge bowl, next to my Mark de la Torre lamp. It’s enormous and everyone is taken aback by the size of it, but I like it! She’s gone back to do an MA so I’m looking forward to seeing what she’s up to.

When you visit open studios, what makes it interesting for you?

The studio itself, as well as the work, and meeting the makers is always really good. I like to physically see the studio itself. This is the third studio I’ve worked in and it’s always interesting to see where other people work, whether they’re just as messy as yours and to compare them with how you work yourself.

Tell us about one of your favourite makers. Can you say what connects you to their work?

One of the reasons I like Peter Archer’s carved wooden bowls, is that every single piece has got so many hours of his time in it; that makes it very special. I suppose I like the labour that goes into things, because that’s what we do, we sit at our benches and things take hours to make and that reflects in the work. Maybe it just gives the piece a lot of character of the maker, I’m not really sure. I think I just get drawn to things that have a lot of carving, a lot of texture, or repetition of form, an aesthetic in common maybe, I don’t know, I haven’t really analysed it.

©Peter Archer

Peter Archer carved wooden bowl

Obstacles such as money and space aside, what would you most like to have?

Do you know the willow basket work of Lizzie Farey? I would love to have bought a piece of hers, but I didn’t have the space or the money then. She designed a couple of pieces to go outside that would continue to grow but she also did some tall, curved, sculptural pieces. I also love Vladimir Bohn – a silversmith – his silver bowls are just so lovely. He uses very thick silver, and then they are enamelled, and then slumped in a kiln, very unlike a lot of other silver ware, very organic. A little collection of those would be my ideal if money was no object. With Lizzie, it’s more of a space issue.

©Lizzie Farey

‘Three Sisters’ by Lizzie Farey 2005

Do you have a tip for aspiring collectors

Buy what you love, and things you’ll look at every day, or use every day and get pleasure from. Don’t try and buy what you think is in. I think the craft world isn’t really like that anyway, we’re a bit different to the design world. Buy what you love and not what you think you should be buying – but that’s from someone who just buys things and isn’t really a collector!

Jenifer Wall is co-owner of ‘Brass Monkeys’ a jewellery gallery in Hove.

You might also be interested in our other collector interviews.

Meet the collector: Anne

Meet the collector: Anne-Marie

To find contemporary craft on show near you, use our Find Craft search, and visit our online personal collections. Perhaps you will feel inspired to create your own as you browse through our makers.

Behind the scenes: Emma Paragreen on hallmarks

Emma Paragreen is the public face of the Sheffield Assay Office and officially its Librarian, Curator and Archivist. Here she talks to Janet Paske about the hallmarking of precious metals.

What do assay offices do?

Why is hallmarking important?

What is a hallmark?

How do designer-makers get their pieces hallmarked?

What’s the most remarkable piece that has been hallmarked by the Sheffield Assay Office?

What do assay offices do?

“Assay” means to test or verify, in our case, precious metals.

The first office started in London in the 1300s, when gold and silver smiths (aka designer-makers) were being commissioned by wealthy people. Customers wanted to ensure that the materials were as stated so the Goldsmith’s Company acted as early consumer protection. They sent out staff who tested and applied a mark, to confirm the designer-maker had made the work and that the metal had been verified.

By the 1600s Edinburgh had its own Goldsmiths Company, followed by the setting up of provincial assay offices in towns and cities such as Newcastle, York, Exeter, Chester to name but a few. These were all private companies, set up under their own auspices. Sheffield and Birmingham were set up under an act of parliament in 1773. They had an Assay Master and 30 “Guardians of Standard of Wrought Plate within the Town of Sheffield” *(like trustees). Sheffield only had the right to test and mark silver, which was the focus of its cutlery and tableware industry, and only in the early 1900s was it allowed to test and mark gold. Birmingham focussed on jewellery which was its major metal industry.

Nowadays, the assay offices are overseen by the British Hallmarking Council, under the 1973 Hallmarking Act. The prices all assay offices charge are regulated by the Council.

We’ve broadened our horizons and provide services to test not just precious metals. The laboratories are equipped with technology which enables ourhighly qualified staff to determine, for example, the composition of a soil sample, provide valuable data for the medical profession or test costume jewellery for nickel according to the EC Directive.Clients include national high-street retailers and international manufacturers.

At Sheffield, we handle about 4 million items in a year and our turnaround time is typically from 3-5 days, although we can deal with urgent requests. We receive about 3000 queries by email and post. About 90% of our work comes from overseas, 2% from Sheffield designer-makers and the remaining 8% from the rest of the UK. 60 staff manage all this. At Sheffield Assay Office, we receive no grants so our income is solely from customer charges, whether from hallmarking, testing, visitor talks and tours.

Why is hallmarking important?

Hallmarking provides reassurance. All pieces made of gold, silver, platinum or palladium have to be hallmarked if they are above a certain weight. For example, if a piece is made in gold or palladium, it must be hallmarked if it is heavier than 1g.

Hallmarking allows owners to be reassured of the proportionand type of metal in their jewellery and other precious metal work. If someone is unsure, then an assay office can verify this for them.

By hallmarking, designer-makers can demonstrate to customers that their pieces have been externally verified.

And when people buy from galleries or other retailers, the “Dealer’s Notice”(see below) gives the same reassurance. Failure to display this notice may bring in trading standards officers.

The Dealer's Notice

What is a hallmark?

A hallmark is a series of marks engraved or punched into metal. No one mark is a hallmark. Let’s use Charlotte Tollyfield’s wine decanter below as an example. It’s made in silver.

Photo: Hazel Drummond on behalf of Museums Sheffield

Charlotte Tollyfield’s wine decanter

And here's the hallmark in more detail:

Photo: Hazel Drummond on behalf of Museums Sheffield

You can also see the part mark on the lid of the decanter where it has been gilded.

This hallmark consists of, moving from left to right:

• "CRT", Charlotte’s mark to identify the work as hers, otherwise known as a sponsor’s mark (it could be the mark of the company submitting the piece for hallmarking),

• a fineness mark. The shape, an oval, tells us it’s silver. The number, 958, tells us the proportion in the decanter, so 958/ 1000 of it is silver.This is also known as Britannia silver, which is higher in silver content than Sterling silver (925/1000), but less than Fine silver (999/1000).

• the Assay Office’s own mark (in this case, a Tudor rose for Sheffield).

These are the compulsory marks which create a hallmark. Other marks can also be added upon request:

• the traditional fineness symbol (Figure of Britannia) is another fineness mark, which denotes Britannia silver

• the letter k denotes which year the piece was made in, in this case 2009.

You can also see that the gilding has been marked with a “part mark”. The full hallmark is applied to the main body of the article; a part mark is added to the detachable part of the article to indicate it is part of a larger object.

A full hallmark is often requested for designer made pieces. This is in keeping with British hallmarking traditions and ensures future generations can interprete and date the piece.

How do designer-makers get their pieces hallmarked?

There are 4 main steps: receipt of the work, testing, hallmarking (whether traditional hand punching or laser hallmarking) then checking and returning the pieces to their owner.

Firstly the pieces need to be received by us; this could be in the post or hand delivered. Some days we receive, say, 45,000 charms, others it may be one or two pieces. There is a minimum parcel charge so if you are a designer maker creating small pieces of jewellery it will be more cost efficient to wait until you have a few articles and send them as one parcel. We log the details about each piece, weigh them in and store them in our safe until they are due to be worked on. Jackie then manages the process of getting pieces hallmarked and allocates the work out to the team.

Next, the pieces need to be tested, to make sure that the metal is comprised as the designer-maker has said. Computer-operated X-Ray Fluorescence machines deliver very accurate analysis of metal composition and the operator can tell within 30 seconds if the material is what it is said to be. If there is any question, the piece is transferred for in-depth testing. If we receive a batch of many similar items we will test a sample, rather than all of them.

©Steve Ellis/ Sheffield Assay Office

Testing articles using XRF

The piece is then hallmarked, assuming the piece passes the test. It will be either hand marked or the hallmark will be added by laser. By hand is often the best way to hallmark certain items which range in scale from very small to large. There is definitely still a need for traditional hallmarking skills. Someone retired recently who’d worked for the Assay Office for 50 years, and we take on apprentices at 16 who learn their skills mostly on the job from more experienced staff.

All punches for hand marking are stored in a safe and signed out for each use. A designer-maker can choose to store punches for their own mark with the assay office. Hand punching means the metal will be displaced so it usually happens near the start of the making process, and the piece is returned to the maker who finishes it in line with their design.

Jackie hand marking jewellery

©Steve Ellis/ Sheffield Assay Office

Danny hand marking a silversmith's work

If laser marking is used, the hallmark images/ logo are stored as graphic files on a computer. Similar to punch control, these are selected by the staff from the database under tight controls. Laser marking can be used for pieces nearer the end of the manufacturing. There is no physical impact using laser as it removes the precious metal rather than displacing it. The advent of laser marking has also meant that delicate or hollow articles or items of jewellery with gemstone set in them can be hallmarked. The laser machines are also used for engraving logo graphics and serial numbers of patterns.

©Steve Ellis/ Sheffield Assay Office

Steve laser hallmarking

Close up of laser hallmarking a ring

Occasionally there are mishaps where perhaps the wrong punch is used or something slips at the wrong moment. In those cases we make the piece good, by re-filling it with exactly the same material, polish the surface and re-mark. This applies to hand marked and laser marked articles.

Once the hallmarking is complete, the punches (if used) are returned and signed back into the safe. The piece is checked against the initial requirements and, assuming everything is completed satisfactorily, placed in storage until it is picked up or delivered to the client.

What’s the most remarkable piece hallmarked by the Sheffield Assay Office?

That would be the sterling silver bedroom suite for an Indian Raj made by Mappin and Webb in 1904. The bed was commissioned to illustrate the diversity of craftmanship and manufacture. The bed alone was 8ft long by 6ft wide by 13ft high. Even though the bed was brought to the Office in pieces, the doors and windows had to be removed from the office building to get them inside.

Silver bedstead made for an Indian Rajah in 1904, Mappin & Webb

(Many thanks to Picture Sheffield)

Notes

Here are the most commonly used marks so you can check your own jewellery and other precious metal pieces.

For other information about hallmarking, to see hallmarking in action or to have a query answered about a piece you own, you can visit your local office, whether the Sheffield Assay Office, the Birmingham Assay Office, the London Assay Office (connected to the Goldsmith's Company) or the Edinburgh Assay Office. Here’s a link to the regulator, the British Hallmarking Council.

You can use our FIND CRAFT search to find the jewellers and designer-makers working in precious metals who need the services of assay offices.

You may find these other articles of interest:

Meet the commissioner: Doris

How to commission

Behind the scenes: Chiara Bet, craft fair volunteer

Chiara Bet, a unique jeweller, recently volunteered at the Great Northern Contemporary Craft Fair in Manchester. She talked to Jessica Pallett.

Why did you volunteer at the Great Northern Contemporary Craft Fair?
As a maker interested in taking part in such fairs, I thought this would be a good chance to experience “working behind the scenes”. In the future I would like to apply for a stand at the Great Northern; the opportunity was a good chance to take a look, see what I would need, and how everything works.

How did you hear about it?
I found out about the chance of volunteering through Benchpeg, a weekly e-bulletin for the trade. The newsletter advertised GNCCF was on the hunt for volunteers to help with the event, and right away I was interested and signed up for it.

Was it easy to sign up?
The process was quite straightforward. I was asked to email the reasons why I wanted to volunteer and to give my availability.

I only volunteered for two days at the craft fair, which was the minimum amount required. I would have loved to lend a hand for the whole period of the event, but with running my own jewellery business at Yorkshire Artspace, that’s all I had time for. Eventually, I volunteered on the first day of setting up, and on the last day, during takedown. This meant receiving a full behind the scenes experience.

Yorkshire Artspace, Persistence Works Studios

Was this the first time you had volunteered for an event?
This was my first time volunteering but I would definitely do it again! Prior to the Great Northern Contemporary Craft Fair, I had some first-hand experience with the setup and takedown of my own stalls at events such as New Designers at the Business Design Centre in London, showcasing the best or newly graduated designers, and Designer Crafts at the Mall 2012, the Society of Designer Craftsmen’s annual exhibition at the Mall Galleries, again, in London.

How did the GNCCF express their appreciation for your help?
Tea & cakes sealed the deal on the last day!! Treats aside, they offered to reimburse any travel expenses, and provided us with a wristband that granted free-entry to the show.

The Volunteer Manager Leanne Richards directed brilliantly the team of volunteers, so if ever there was any doubt on what to do, we would consult her for guidance: she always had an answer ready, fast on her feet! The organisers Ann-Marie Franey and Angela Mann organised everything extremely well, from the exhibitors’ registration and drop-off of work on their arrival, to their departure at the end of the show.

Tell us about your volunteering experience
On the first day of setup I was placed in reception, a position I enjoyed as it meant the opportunity to welcome the makers and see the same look of excitement on everybody’s face, whether newcomers or weathered exhibitors. This was matched by the thrill palpable in the crowd of visitors that attended the fair, which I witnessed on my second day of volunteering. It is this shared passion between makers & buyers (or should I call them “enjoyers”?) that pushes me to apply for stands at craft shows, and for the chance to be part of it all.

What did you learn that will stand you in good stead when you are exhibiting your work?
I now know how important attention to detail is. Screws and fittings come to mind: knowing myself, I would probably forget about such things and just think about taking my pieces - but work is not magically suspended in the air. I will also remember to take a chair with me; I don’t think I could survive a week of show without resting my feet from time to time!

I will definitely value everyone’s contribution in the setup and running of such events even more than before: it’s unfair underestimating young makers and students, simply because of their lack of experience.

What did you enjoy most?
I would say the atmosphere. I loved the fact that everybody at the fair shared a love and common passion for the arts. There is a very “cosy” feel in the air, generated by both makers and visitors, as everybody just loves to be there whatever their position at the event. This really inspires me to be even more productive and to apply for stands and opportunities to exhibit my work.

Which designer- makers stood out the most for you?
Being a jeweller myself, I was obviously attracted to jewellery stands. Whilst browsing through them, I realised that a lot of importance needs to be given to the way work is showcased. Many artists at the fair enhanced their pieces even further by the way they highlighted the themes behind their creations through their display.

Jennie Gill was a favourite. She produces quite intricate pieces of jewellery, and I just loved her stand; it was very charming and well organised, the perfect backdrop for her jewellery.

Whereas Chris Boland, another jeweller, had amazing bold designs but displayed them in a minimal way, allowing the work to speak for itself. The nature of the craftwork is key in determining the look of the stand.

I really liked Catherine Chester’s jewellery. Inspired by the 1920s, it’s developed around the theme of female bodies mixed with Victorian art. I loved the way she displayed her work on the wall; it just projected this nice Victorian feel. Her display was really inspiring.

Metalwork-wise, Marcus Steel’s work stood out for me as bold and clean. It’s inspired by industrial and vernacular architecture, and the contemporary designs are charmingly aged through the use of patina.

Latimeria’s new take on stainless steel was quite interesting. The pieces were beautiful and functional.

Cutlery by Latimeria

What advice would you give someone thinking about volunteering?

Be prepared – Wear sensible shoes and have coffee at hand!

Be receptive – You can learn from any task you are given, so take advantage of the experience.

Use your initiative - Anything you can do is helpful to others.

Talk to makers – Take the opportunity to talk to makers and gain insight into their work.

Gain contacts – Craft events are a great way to promote your own work if you’re a designer maker and get contacts that could help you in different ways.

Note: You can see the work of Chiara Bet on her Craft Finder profile.

The 12 days of Christmas: our suggested exhibitions

It’s a bit soon to be thinking about "after Christmas", but we wondered what you might like do after the Big Day is over and before life returns to "normal". Often people are travelling to meet family and friends in places they don’t know well so we thought we would suggest exhibitions which are happening across the country. You may not have heard about them but we think you might well like to see them. We've done our best to check the details but given the time of year, we really recommend checking with the venue for opening times and dates.

The majority of these are not selling exhibitions, but if you have some Christmas money then you might like to use our FIND CRAFT search for places nearby where you can spend it.

Birmingham: Making Moves, Moor Street Station, free entry. Ends 3^rd January.

Cambridge: Calligraphy Today, Fitzwilliam Museum, free entry. Ends 13^thJanuary.

Edinburgh: Carpets of Distinction, Dovecot Studios, free entry. Ends 12^thJanuary.

Gloucester: The Architecture of Cloth, Colour and Space, Gloucester Cathedral, free entry. Ends 7^th January.

Hereford: Made in the Middle Exhibition, Hereford Museum & Art Gallery, free entry. Ends 2^nd January.

Leeds: 30 Years, The Craft & Design Centre (also upstairs is the City Art Gallery), free entry. Ends 12^thJanuary.

London: Everyday Encounters, William Morris Gallery, free entry. Ends 3^rdFebruary.

London: The Perfect Place to Grow, Royal College of Art, free entry. Ends 3^rdJanuary.

London: Unexpected Pleasures: The Art & Design of Contemporary Jewellery, Design Museum, some admission charges apply. Ends 3^rd March.

Manchester: The First Cut: Paper at the Cutting Edge, free entry. Ends 27^thJanuary.

Nottingham: Lace Works Contemporary Art & Nottingham Lace, Nottingham Castle Museum & Art Gallery, some admission charges apply. Ends 3^rdFebruary.

Plymouth: Porcelain: A New Collection, Plymouth City Museum & Art Gallery, free entry. Ends 2014.

Ruthin: Shadows & Light, Ruthin Craft Centre, free entry. Ends 6^thJanuary.

Meet the commissioner: Doris

Doris Wolanski is a commissioner of contemporary craft. She talked to Janet Paske.

Why do you commission?
I choose to commission work because I like things to be different. I’m very impulsive too - I can just fall in love with things. That’s what happened with the 'Elementi Cabinet' by Andrea Felice.

'Elementi Cabinet' by Andrea Felice.

How did you find your makers?
I came across Andrea at TentLondon. I saw the cabinet there, but it was taller. I loved the piece but I didn’t have a place to put it so I took his card. I was living in a different house then and it wouldn't have fitted anywhere. When I moved house I found the perfect space. So a year later I phoned him and he came over and we discussed the piece and where it was going to go. We changed the shape from the standard 'Elementi Cabinet' by making it lower and wider to fit in the alcove exactly. If I had bought the piece direct from a shop, rather than commissioning it, the cabinet wouldn’t fit perfectly. Andrea's great, that’s why I like his things. He has now become a friend. We are commissioning him to do a library upstairs and other work here too.

I have spaces here that are out of the ordinary so it is unlikely that I will find something to fit. But I have always been like this, even in regular shaped houses. I like different things, usually asymetrical. I don’t like normal things.

I decide to commission things I need and things I fall in love with. I look for different things, for instance my chandelier; I knew I wanted something very different but I couldn’t see it in the shops, so I commissioned somebody to make it for me.

I met Steve at an exhibition. He had all types of work there and I really liked it. So when we moved house we went to him to commission a wrought iron banister and a large chandelier. I saw some really great stuff. there. We worked together to come up with the design; I gave him an idea of what I wanted and he sent me drawings. With the chandelier we went back and forth twice before we agreed on a design that we both liked. It was a relatively short process because Steve picked up exactly what I wanted. That's what I like about the people I work with. They pick up my ideas very quickly. I just love this chandelier which is just stunning.

Chandelier by Overwrought

I’ve been very lucky with my choice of makers. I think it’s a people thing as well. You have to get along with the artist.

The last piece I want to tell you about is made by Simone Landsman. She is a lovely lady I met at a wedding and we just clicked. She told me that she made sculptures. After the wedding I got in touch with her and went to see her work. I loved it. She does some really fabulous stuff. Simone said she had never done an exhibition and I told her that my house wasn't finished - we didn’t even have floors - but we could use it to hold one for her. So we did. The exhibition sold very well and we have become good friends. I bought that marble sculpture and I love it, it’s very evocative and tactile. She does the most amazing stuff.

Sculpture by Simone Landsman

What was the first thing you commissioned?
The first thing I ever commissioned was a hot air balloon. I wanted a hot air balloon sculpture because my friends’ daughter had got engaged and her fiancée had proposed to her in a hot air balloon. As a wedding gift I wanted to do something different so I commissioned this guy to do a sculpture of a hot air balloon. I met him in Camden Market. He did the most amazing sculpture - the base is a piece of stone and there is a big multi-coloured glass balloon at the top with a young woman in it and a young man trying to climb into it. In fact, I made him do two because I fell in love with it, so I had one too.

The man that designed and made the sculpture has passed away so I wish I could have met you before. The glass balloon needed a repair and I couldn’t find anyone that worked with glass to do it. As it happened, all the lights in my house had been commissioned and the same guy is repairing the balloon.

Do you have a favourite piece?
I don't have a favourite commissioned piece as I love them all. I really don’t have a favourite. They still thrill me now as much as when I first saw them.

How do you like to work with makers?
If I want to work with a maker I usually contact them and arrange a meeting at my home. I like them to come here to see where the piece should go. That way the makers get a feel of the place. I have always done this in all of my homes. The designer-makers need to get a feel of the place and know where it’s going to go. You can’t do that by talking in their studios.

I am very open about the designs of work I commission but I have to like it, it has to click with me. I won’t go with an idea if I don’t like it. I had an idea about my windows. I knew the shape I wanted but I was happy for the carpenter to use his ideas within that.

What piece of contemporary craft would you most love to have?
Obstacles such as money and space aside, I would most like to have 'Oh, The Farmer and The Cowman Should Be Friends' by Ron Arad. It's a map of America. It’s fabulous. I found out about it when I went to a talk by Mr Arad, which was terrific. That’s what I would love.

'Oh, The Farmer and The Cowman Should Be Friends' by Ron Arad.

Tips for aspiring collectors

- It’s a question of meeting people and being open at all times.

- If you see something you like, always take a card, even if you can’t see how you would use it immediately

- Always talk to the designer-maker if there is time

- Don’t give up.

- You have to get along with the artists. The interaction is so important.

- It’s a two way process. You can’t just say, ‘I want this. Deliver it next week’.

- Commissioning is a very easy process but does take time. It's usually about three months from when you start talking to the artist to when you receive the piece.

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Here are our tips for commissioning. Our FIND CRAFT search allows you to filter for makers who welcome commissioners (tick 'Welcomes commissions' under '...anything else').

Ulli Kaiser: an inside view

Dixie Nichols visits Ulli Kaiser, an art jeweller, in her studio in Guildford.

Ulli at work in her studio.

This is Ulli Kaiser, a wonderful Austrian born art jeweller. She's giggling as I am standing outside in the wet garden photographing her through the glass of the window.

I feel a bit of a fool as her ex-husband Christian Kaiser, who photographs her work for her, is one of the best photographers I have ever come across.

Just look at this: it’s Nureyev swooping down to the stage for a second, tense and ready to spring away back into the air. It's a wonderful photo of a wonderful piece worked in crocheted beads and silver.

Ulli works in a light filled room to the side of her kitchen looking out over the garden with the horizon dominated by the rather monstrous Guildford Cathedral.

She works intuitively playing with colours and materials until she knows it's right. She likes to have three or four pieces on the go at the same time so, if she is stuck on one, she can work on another until she sees the way forward.

Her starting point is an idea, then she selects the materials that she wants to work with, trying colour combinations until she is satisfied, moving forward step by step, never quite matching the idea that she started with, but ending with a piece that gives her real pleasure.

She considers herself to be a logical, mathematical person but the more she talked about her way of working, the more I thought it was as instinctive as it was logical. When I noticed that her drawers of beads, albeit rigorously organised by colour and size, were actually labelled in a mixture of German and English I thought she is not all that logical, her brain flies about more than she realises.

One of the lovely things about Ulli is that she remains true to her creations, she talks of them with huge respect. It's as if she has forgotten that she made them and simply admires them as an onlooker. It's nothing to do with salesmanship but pleasure in the piece.

Silver is a very unforgiving medium. It demands time and great attention and infinite patience; it constantly evolves as you work and you have to be very, very careful not to over stress it. Ulli showed me two lovely pendants which were both the results of fortunate errors.

It took a week to make this silver form. Eventually, Ulli took a file to it hoping to speed things along a bit and broke through the silver. A moment of pure disaster but later she saw that she could continue the piece, and added the rim and the beads. Not intended, but none the less really successful.

On this one, rushing to get the piece ready for her first New York show, she used the tumbler without adding enough liquid so damaging the surface. To rescue the apparently spoilt piece she added the holes and a more lovely piece emerged as the holes mirrored the beadwork so pleasingly.

This constant moving forward, finding new ways and mastering new techniques is what drives Ulli's creative energy.

She loved her time at art college in Salzburg, really enjoying working her way through the various specialities. That love of acquiring new techniques is still with her. She adores West Dean courses: "everybody is so creative and there is an atmosphere of enjoyment". She does a course and pirates the technique for her jewellery, getting the tutors to help her modify its principals for her ends.

She recently worked with Lucian Taylor who was teaching raising bowls but found himself helping Ulli develop a form press for her specific shapes.

Ulli's sketch books are wonderful and if you visit one of her open studios, you must ask to look at them. She showed me the pages for her submission to the V&A's Inspiration, an annual competition for people doing part time courses, inspired by their chosen exhibit in the museum.

Ulli's submission was this beautiful pendant inspired by a nineteenth century botanical study of a water chestnut which she found in the V&A library.

She is particularly proud of this piece as she managed to create the form she wanted on her own without technical advice. She didn't win, but her work was exhibited.

I asked Ulli who bought her pieces, were they collectors or buying to wear? Her answer was emphatic:

"My jewellery is worn. It doesn't stay in drawers. If I have a piece back to repair, it's because it's worn out."

She was just as clear on who her clients are:

"I know by looking at people if they will buy or not. They need to be above 35, know who they are, know what they like, and have the confidence to buy something unusual. If they are over dressed, or wear lots of makeup they will not go for my pieces as they want bling.
I love the process, the collaboration of choosing, many customers will instinctively go to the right piece for them and will keep going back to it. I like doing commissions as I can make it right, one bead more or less can make the difference. In England there is an acceptance of advice, buying and commissioning is a shared process. There is a togetherness of maker and customer which makes the whole process enjoyable."

The thing about Ulli's work is that it is so considered, every element is thought out and perfected. She is not satisfied until every element belongs and is the best she can make it. In this she has been hugely influenced by her mentor Sarah Macrae another West Dean teacher whose support and guidance has meant a great deal to her.

The clasp is given as much thought as the front.

There is also such a breathtaking originality.

Ulli continually makes new forms.

Nobody is ever going to fail to notice her work, but it never shouts.

It is also very female, yet strong.

Where next? Well the next course she wants to do is etching so that too will be added to her talents and gently incorporated into new work. It all seems so simple; her parents back in Tyrol are the same. She told me her mother wanted her newly retired husband to leave her to get on, so got him to go on a glass course and now together they make the most amazing fused glass pieces.

Ulli, Christian and her brother bought them a kiln which is in their cellar and every morning they have something to get up for, to see how the glass has fired overnight.

They have a technique all of their own and it is producing wonderful pieces.

When Ulli does her next open studio, she intends to have some of their glass to sell alongside her work.

Talking to Ulli, I thought what a difference it makes to buy a piece directly from the maker. You learn so much more about it and if it is a piece of jewellery, you have so much more confidence in wearing it and a good maker can lead you to the right choice. I love what she says about it being collaborative, what more can one ask for? Something that is so carefully and thoughtfully created, is a link between buyer and maker, a secret aesthetic connection.

Notes

You can see more of Ulli’s work and find her galleries and events on her Craft Finder profile.
Dixie Nichols writes Handmade Lives.

Christmas craft shopping & open studios

Are you avoiding the high street this Christmas and opting for the handmade? What could be better than buying lovingly made gifts for those special people in your life? And you'd be supporting our designer-makers too.

In the run up to Christmas there are numerous open studios and craft shopping opportunities so we've done a quick round up of some that look tempting to us. Many more events are happening across the country so if you want to find one a bit nearer you, you can use our search (look for events using the keyword “Xmas” or “Christmas”).

Selvedge Winter Fair, London 10 Nov

Craft in the Bay, Cardiff 16 Nov – 6 Jan

Yorkshire Artspace, Sheffield 16 - 17 Nov

Make, Devon 17 Nov - 31 Dec

Made in Clerkenwell, London 22 - 25 Nov

Manchester Craft & Design Centre 24 Nov – 9 Mar

Ouseburn Open Studios, Newcastle 24 - 25 Nov

Cockpit Arts Open Studios, London 30 Nov - 2 Dec & 7 - 9 Dec

East London Design Show, London 6 - 9 Dec

What is it?

A one-day fair full of fabulous textiles, plus other craft disciplines, with over 100 makers selling their wares.

When is it?

Saturday 10^th November, 10am-4pm

Where is it?

Chelsea Old town Hall. King’s Road, London SW3 5EE

How much does it cost?

£5

More Info

What is it?

The Christmas exhibition this year – ‘A Splash of Colour’ - is a celebration of colour in contemporary craft. Invited artists from throughout the UK will be showing and selling their wonderful designs in clay, glass, metal, wood and textiles. there'll be a broad price range from stocking fillers and tree decorations to statement art pieces for the home.

When is it?

Friday 16^th November, 6pm-8pm

Saturday 17^th November to Sunday 6^th January, 10.30am – 5.30pm

Where is it?

The Flourish, Lloyd George Avenue, Cardiff, CF10 4QH

How much does it cost?

It’s free.

More Info

What is it?

66 professional artists and craftspeople will be opening their Sheffield studios to the public. The new MADE North Gallery at Yorkshire Artspace will also be open.

When is it?

Friday 16th November, 5.30pm-9pm

Saturday 17th November, 11am-5pm

Where is it?

Persistence Works: 21 Brown Street, Sheffield S1 2BS

Porter Brook Studios: right next door to Persistence Works

Manor Oaks Studios (Saturday only): 389 Manor Lane, Sheffield S2 1UH

Knutton Road Studios (Saturday only): SOAR Works, 14 Knutton Road, Sheffield S5 9NU

How much does it cost?

It's free.

More Info

What is it?

The Devon Guild's Christmas Exhibition features work by around 50 UK contemporary craft makers including a full range of ceramics, jewellery and textiles alongside a selection of glass, paper, furniture, wood, sculpture and other eclectic items.

Unique, personal gifts are increasingly hard to come by on the high street and this exhibition offers the opportunity to purchase something both individual and affordable.

When is it?

Saturday 17^th November – Monday 31^st December, 10am - 5.30pm

Closed Christmas Day, Boxing Day, New Year's Day and from 3pm Christmas Eve.

Where is it?

The Devon Guild of Craftsmen, Riverside Mill, Bovey Tracey, Devon, TQ13 9AF

How much does it cost?

It's free

More Info

What is it?

Craft Central opens the doors to its two fascinating Victorian buildings – you can start your visit in Clerkenwell Green and then find St John’s Square just 2 minutes away. You can go ‘behind the scenes’ and explore the workshops of its renowned design community. And whether you’ve got an hour or a whole day, you can mingle with the makers in the studios where they work their magic. One ticket allows unlimited access over 4 days, including Thursday’s launch event and Friday’s late night shopping.

There'll be jewellery, fashion, interior products, ceramics, accessories and traditional crafts by 100+ selected UK designers. Choose a gift, commission a unique piece, find a bespoke design service or just browse... this shopping treat is topped off by meeting the maker.

When is it?

Thurs 22^nd November, 5-8pm

Fri 23^rd November, 12-8pm

Saturday 24^th November, 12-6pm

Sunday 25^th November, 12-6pm

Where is it?

21 Clerkenwell Green, London, EC1R 0DX

33-35 St John’s Square, London, EC1M 4DS

How much does it cost?

Admission is £3 and under 16's are admitted free. Prices include re-admission to both buildings.

More Info

What is it?

24th November is the Christmas shopping launch for the Manchester Craft and Design Centre, with live music, craft activities and tasty treats.The Fourfront exhibition also opens, showcasing work from makers who are at the forefront of the technological craft movement in Scotland, metalworker Kirsty Eaglesfield, glassmaker Rachel Elliott, and textile and paper artists Eliza Kesuma and Mhari McMullan. This is the first venture for Manchester Craft and Design Centre with CraftScotland. We're looking forward to more.

When is it?

Saturday 24^th November, from 2pm - 9 March 2013

Where is it?

Manchester Design and Craft Centre, 17 Oak Street, Northern Quarter, Manchester, M4 5JD

How much does it cost?

It's free.

More Info

What is it?

The Ouseburn Valley is the creative heart of Newcastle. On the last weekend in November the Ouseburn Open Studios event sees venues open their doors, offering a unique chance to come and glimpse into the working world of over 200 artists and designer-makers. There’s a huge variety of affordable and original work to buy, including ceramics, sculpture, jewellery and furniture. With live music, delicious food and interactive workshops, Ouseburn is a good place to go for some seasonal spirit and Christmas stocking goodies.

When is it?

Saturday 24^th November, 10am-5pm

Sunday 25^th November, 10am-5pm

Where is it?

At lots of addresses in the NE1 and NE2 postcodes, including the Biscuit Factory. Check the website for details. There's a free 'hop-on, hop off' bus service between venues all weekend too.

How much does it cost?

It's free

More Info

What is it?

At Cockpit Arts Open Studios you can meet 165 exceptional designers who make jewellery, fashion, home wares, ceramics, glass and more and you'll be able to buy pieces ranging in price from £5 – £5,000.

You can mingle with makers over a glass of mulled wine and feast on delectable treats at the Hand Made Food cafe. You can win a set of individual tree decorations created by a selection of their master-crafters. And children can take part in Clara Breen’s ‘Winter Petals’ workshop to create decorations from reclaimed card. There will also be live music and other festivities.

When is it?

Holborn: 30 Nov – 2 Dec

Deptford: 7 – 9 Dec

Fri 11am-9pm, Sat – Sun 11am-6pm

Where is it?

Holborn: Cockpit Yard, Northington St, London, WC1N 2NP

Deptford: 18-22 Creekside, London, SE8 3DZ

How much does it cost?

Entry is £5 for a joint ticket to both events or £3 for Deptford only.

Free entry for children under 15.

Free entry at Deptford on Friday 7 December.

Holborn More Info

Deptford More Info

What is it?

The East London Design Show (ELDS) is an annual event that brings together the best of the UK's independent product, interior and jewellery designers under one roof in Shoreditch. It promises to be a refreshing alternative to Christmas shopping on the high street.

There'll be be over 100 independent product, interior and jewellery designers - both established as well as newly-emerging – in glass, ceramics, jewellery, women’s and men’s fashion accessories, children’s toys, home-wares and furniture. Children are welcome with lots of activities to keep them busy - you could easily make a day of it.

When is it?

Friday 7^th December, 12-9pm

Saturday 8^th December, 10am-6pm

Sunday 9^th December, 10am-6pm

Where is it?

Shoreditch Town Hall, 380 Old Street, London, EC1V 9LT

How much does it cost?

Admission is £5, concessions £3, and accompanied children under 16 get in free.

More Info

Katharine Morling: an inside view

Dixie Nichols visits the ceramicist of the moment, Katharine Morling, in her Deptford Studio.

Katharine at work in her studio

This picture tells you more about Katharine than I can: friendly, eclectic, easy-going, organised, pragmatic and unstoppably inventive (notice how she has put her chair on casters).

Buyers love her work for its humour; it has a lively ebullience which is hugely attractive. Her black and white ceramics of everyday objects have an energy of line and vigour that make you think of Ronald Searle with just a touch of St Trinian's.

"Matches", edition of 100, in Royal Academy Summer Exhibition £120

She has a way of hitting the moment. Her matches and tape measures sold out at the Royal Academy this summer; her studio is still working its way through the orders.

Lots of people buy Morling's ceramics for their humour, but there is something sinister in there as well.

"About 20-30% of people see it and say ‘God that freaks me out!’ and I think ‘O you can see."

In some pieces it’s completely evident.

In others, it starts to bleed out at you as you look- that rabbit is surrounded by torture instruments, why are the matches there? Those glasses belong to an unfriendly overseer or is it just our imagination? You are trapped in a story you don't understand, it's not a comfortable place to be.

Morling says that for her it's all about the making, she does not feel attached to the finished piece:

"We find ourselves on this spinning planet where no one knows what the hell is going on; there are no answers only questions; I find that overwhelming. In fact I found it perplexing from a very early age. Making is a giant sized play therapy for me."

I love Morling's simplicity, she is direct and very articulate but doesn't go in for that academic art speak which can be so befuddling and beloved of some galleries. She chats and she opens up and she explains and is interested in what you have to say.

One of the penalties of being so successful is that Morling doesn't get to talk to the public one to one as often as she used to, but she still does Cockpit Open Studios in Deptford twice a year.

She is not very disciplined about it. Last time she had a huge long chat with someone and in the corner of her eye saw people who wanted to buy things, but who gave up waiting for her; next time she is going to have a sales assistant to serve so she can chat without losing sales.

Morling takes enormous pleasure in a fat red folder of "love letters" from the public saying nice things about her work. What she is less comfortable with is people telling her what she should make (I am sure I have been guilty of this one), things like 'You should make a Christmas tree'. She used to say "Why don't you open your own studio and do it yourself?" but realised that was a bit harsh so now she tries not to engage but if cornered just says "thanks, I'll probably do that" thinking “when I'm dead”. She feels it's my head I make stuff out of, not yours.

I am glad she explained that because if I talk to an artist at a show it is because I admire their work and I want to express that to them, and I certainly don't want to put my foot in it. I want them to think I would be a worthy owner, even if all I can offer is my admiration as I can't afford to buy the work, certainly not at this moment.

Although Morling is currently known for her black and white pieces her previous body of work was very different.

You can see it here but relegated to the top shelf.

This is typical of the older style which Morling left behind in 2006. It was selling well but

"I found myself thinking there was something missing. I wasn’t satisfied with what I was making. I felt my work didn’t seem to represent me."

Morling took herself off to the Royal College of Art and the black and white work emerged. Her buyers took the change in their stride:

"I got two letters from people regretting the change, but one of those wrote later to say they had come round to it."

There is probably another change brewing; she says she can feel something coming on but doesn't know what it is yet.

Meanwhile Morling and her assistants are merrily at work on the beasts which she is making in response to The Staffordshire Hoard - the biggest ever find of Anglo Saxon gold artefacts.

Morling is hugely fortunate in the projects that come her way because most of them leave her free to respond as she wishes. Earlier in her career clients used to be quite prescriptive about what they wanted but now they are happy for her to do her own thing, confident that she will produce something remarkable. The £70,000 ‘Morling at the Hoard’ commission is entirely funded by the Arts Council and is due to go on display around the end of October at The Potteries Museum and Art Gallery in Hanley, Staffordshire. The installation was commissioned as part of the 2012 Cultural Olympiad.

The freedom is wonderful for Morling. On this project it has led to her spreading her wings into animation and storytelling, in what is going to be an amazing installation. Meanwhile the beasts of her imagination are in production.

This is "Byron"

This is "Horse", also known in the studio as “gay boy” because of his apparently camp pose (this pose will make more sense when his treasure chest and spear are added).

"Split headed fish and seahorse"

You can see more pictures of Morling and the Hoard and updates on her current activity on her Facebook page. You can see Morling and her team at work in this youtube video too.

Morling's Deptford studio is a happy place. There is lots of laughter and the afternoon I visited, they had been listening to memories of “This American Life” on the radio as they worked. Morling thinks when it comes to making “it’s best not to think it through, just do it" which, as she says, is handy. After I left she was off to enjoy the Paralympics.

Deptford is South London's response to Hoxton, north of the Thames. It is a hotbed of creativity in a very urban setting. The Cockpit studios are crammed full of talent and it's a place well worth a visit when they have their open studios. Here are the details for the Christmas Open Studios for Holborn and for Deptford.

Notes

You can keep up to date with Katharine's galleries and events in her Craft Finder profile.

Dixie Nichols writes Handmade Lives.

Our top craft fairs in time for Christmas

In the months coming up to Christmas there are numerous contemporary craft fairs taking place – but which ones should you try and get to? We’ve taken a look and picked out those we think are well worth a visit.

Alison and I have not been to all these events but we know from the makers who are exhibiting that you will be spoilt for choice and inspired by the creativity and skill on show. You will be able to buy at each fair and many makers will be happy to discuss work you might like to commission from them.

You should be able to find jewellery and work in glass, mixed media, metal, wood, ceramics and textiles at all these events except where stated otherwise. Following the link for any fair will take you to a page with journey planning information.

I hope we’ve been able to make buying gifts or a treat for yourself or your home a little easier and more relaxing for you.

Happy craft finding.

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Made London	26^th-28^th Oct
Lustre, Nottingham	10^th-11^th Nov
Handmade in Britain, Chelsea	16^th-18^th Nov
Art in Clay, Farnham	17^th-18^th Nov
Desire, Winchester	16^th-18^th Nov
Hereford Contemporary Craft Fair	16^th-18^th Nov
Made Brighton	22^nd-25^th Nov
Made by Hand Wales, Newport	30^th Nov - 2^nd Dec

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Made London is a fair just starting this year, but judging from the 175 makers who are attending, you are in for a treat. It’s based at One Marylebone, next to Regent’s Park, in a converted Sir John Soane church.

You can hear from makers and other craft experts too. On Saturday there will be talks from Dr Tanya Harrod (Author of 'The Last Sane Man: Michael Cardew, Modern Pots, Colonialism and the Counterculture') and Jonathon Garratt on ceramics. On Sunday there will be talks about jewellery from the Dialogue Collective and the Lesley Craze Gallery.

When is it?

Friday 26th October, 12am - 5pm

Saturday 27th October, 10am - 6pm

Sunday 28th October, 10am - 5pm

Where is it?

1 Marylebone Road, London, NW1 4AQ

How much does it cost?

A number of tickets will be available in advance at £8 per person.

Tickets on the door are £10 per person and children under the age of 14 are admitted free.

There are a limited number of tickets available for a Private View Party on Friday 26^th October. The tickets are priced at £20. Visitors can enjoy music by She'Koyokh and will receive a specially designed goody bag containing luxuries including a voucher for a free 6 bottle case of wine from Naked Wines.

More Info

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I’ve been to Lustre twice now and have really enjoyed the atmosphere. It’s set in the grounds of the University of Nottingham, perfect for fresh air if you need some space to contemplate purchases. You’ll find work from 55 designer makers.

When is it?

10^th - 11^th November, 10am - 5pm

Where is it?

Djanogly Gallery and Lakeside Arts Centre, University Park, Nottingham, NG7 2RD

How much does it cost?

Tickets for weekend admission are £5 per person. State Pensioners can be admitted at a reduced rate of £4 per person. For those under the age of 16, entrance to the event is free.

More Info

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This is the 6^th year for Handmade in Britain at Chelsea, showcasing the work of 90 established and new designer makers in a variety of fields. This is organised by Piyush Suri, one of the judges on Paul Martin's Handmade Revolution.

When is it?

16^th - 18^th November, 11am - 6pm

Where is it?

Chelsea Old Town Hall, Kings Road, Kensington & Chelsea, London, SW3 5EE

How much does it cost?

You can buy a one day ticket at £6 or a two day ticket at £10 per person.

More Info

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What is it?

This is the 16^th Fair at Farnham showcasing some of the best ceramics by makers in the UK and Europe. The show has a range of work from newly qualified artists to potters with many years of creative work behind them. From animal sculptures to functional kitchen & garden pots there will be something to interest anyone who enjoys well-crafted beautiful objects. It’s set in the Farnham Maltings, a hive of creative activity where the first Maltings Market was held in 1970.

When is it?

Saturday 17^th November, 10am - 5pm

Sunday 18^th November, 10am - 4.30pm

Where is it?

Farnham Maltings, Bridge Square, Farnham, GU9 7QR

How much does it cost?

Admission is priced at £5 for Adults and £4.50 Concessions. There’s two for one admission if you take along a listing in the Farnham Maltings brochure.

Children aged 15 and under are admitted free of charge.

More Info

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If you love jewellery and silverware then this fair is the one for you, with its stunning collection and unrivalled choice of over 80 contemporary jewellery and stylish silverware makers. The fair is in a Gothic-revival building in the historic city of Winchester.

When is it?

Friday 16^th November, 12.30pm - 5.30pm

Saturday 17^th November, 10am - 5pm

Sunday 18^th November, 10am - 5pm

Where is it?

Guildhall, High Street, Winchester, SO23 9GH

How much does it cost?

Admission to the event is £4.

More Info

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I visited last year and spent a very enjoyable day wandering among the stalls and chatting with the makers about their work, discovering what inspires them to keep making. This year is the 18^th fair and there is work from over 60 makers for you to see and buy. You may want to complete a visitor questionnaire here as you’ll then be eligible for a prize draw where you could win £50 to spend with the exhibitor of your choice.

When is it?

Friday 16^th November, 10pm - 6pm

Saturday 17^th November, 10am - 6pm

Sunday 18^th November, 10am - 5pm

Where is it?

The Courtyard, Edgar Street, Hereford, HR4 9JR

How much does it cost?

Entry to the fair is priced at £3. Free access is available for carers.

More Info

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Brighton’s Fair offers you the opportunity to buy unique work from 120 of Britain’s most innovative designer-makers. It’s set in the Corn Exchange which was originally the Prince Regent’s Riding House. I’m hoping to get to this fair this year so I may see you there.

When is it?

Thursday 22nd November, 6pm - 8.30pm (ticket only)

Friday 23rd November, 11am - 7.30pm

Saturday 24th November, 10am - 6.00pm

Sunday 25th November, 10am - 5.00pm

Where is it?

Corn Exchange, Church Street, Brighton, BN1 1UG

How much does it cost?

Advance tickets are £5 plus booking fee.

Limited tickets are available to the general public for the Private View at £10, giving you first choice of the work on sale.

Tickets are available on the door for £6 per person which includes the catalogue, which lists all exhibitors, and a cotton goody bag (subject to demand).

Children under the age of 14 are free.

More Info

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Made by Hand is a family-friendly festival which allows you to buy direct from 140 of the UK’s finest designer makers as well as providing workshops, family entertainment, live music, demonstrations, children’s crafts and locally sourced food.

Workshops, master classes and talks take place regularly over the weekend. Master classes and talks are free of charge; workshops have a small fee and need to be booked in advance. Free children’s craft workshops are set up to entertain those of you with young children (Made by Young Hand).

When is it?

Friday 30^th November, 11am – 5pm

Saturday 1^st December, 10am – 5pm

Sunday 2^nd December, 10am – 5pm

Last entry is 4.30pm.

Where it is?

Tredegar House, Pencarn Way, Newport, NP10 8YW

How much does it cost?

Adult day tickets are £6 and concessions £5 (aged 15 – 18, students, unwaged and OAPS).

3 Day weekend tickets can be purchased for adults at £11 and concessions £9.

Family day tickets are available at £16 which includes two adults and two children aged 15 – 18.

Children under the age of 14 are free but must be accompanied by a full paying adult.

All tickets will be available on the door.

More Info

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So, did we make your gift buying easier this year?

Meet the collector: Ann-Marie

You may well not know Ann-Marie Franey but she’s a powerhouse behind the Great Northern Contemporary Craft Fair. She has been collecting for over 15 years and here shares some of her treasures. She's also created her own personal (virtual) collection of pieces from Craft Finder makers which you can see here. She spoke to Janet Paske.

We've given images of some makers' work to give a sense of their style, but they are not necessarily the pieces in Ann-Marie's collection.

1. Tell us how contemporary craft has become woven into your personal life.

I’ve always been drawn to craft pieces. Mum was always making, always sewing. My nana used to knit but I couldn’t, as I was lefthanded. I made when I was younger, things like patchwork quilts and aprons. I also took up ceramics at evening class over twenty years ago and have tried to keep it up over the years. Sadly this year I’ve not had the time – been too busy with the GNCCF.

Once I heard about the Chelsea Craft Fair I wanted to go. The first time I went, it was a girls’ day trip with people from my ceramics class, about 15 years ago. I’ve got this image of us all sprinting down the King’s Road, with Angela [Mann, the Great Northern Contemporary Craft Fair co-director] carrying a huge collage she’d bought. We almost missed the train back north and literally had to jump the barriers to escape the ticket inspector as in the panic we couldn’t find our tickets in our bags. We laughed hysterically at the time and whenever I see Angela’s collage it takes me back to the madness of this day.

As I worked freelance I had barren periods of work and was skint at times, so bought nothing. I tend to buy with the Own Art scheme now – not least so my husband doesn’t notice a large chunk coming out of the bank account.

When I buy something it tends to stay in a cupboard for a while – in my cabinet of curiosities - before it is put out on display. My husband is a bit of a minimalist so we do have some disagreements.

Wherever I go, I like to come away with something, a souvenir. I want value, I don’t want something expensive. My contemporary craft is not an investment collection. It’s purely something where every piece has a story behind it, a memory, even if it’s just a nice day out – or a crazy one - at a craft fair.

2. Tell us a little about the contemporary craft you have. What does your collection include?

I tend to collect ceramics. I’ve got lots of little jars and cups, often from my trips to Rufford. I’ve got lots of small pieces, they don’t take up much room and I can afford them. I’ve got some Clarice Cliff too; I find that some of the contemporary mixes in with the old.

Earlier this year I went to Whitby and saw some James and Tilla Waters. I’d bought a mug at Origin but had broken it, so bought another to replace it. I do use my mugs. I also bought a Simon Carroll mug – it cost £38, so people thought I was the mug for paying so much for it. Sadly he died and his pieces are very collectible now. It’s a really ugly mug, quirky but tea tastes great in it. Unfortunately the mug does have a chip in it now so as an investment it’s worthless, but it’s valuable to me in other ways - I met its maker and was really moved by him. I also bought a whole set of mugs from Derek Wilson and every single one of them is smashed. Why is it the ones from Ikea hold their own? So I’m now really looking after my James and Tilla Waters’ mug. It’s strictly hand wash only!

Pride of place on my living room wall is a Steve Dixon wall tile. He helped select for our first show and he’s another lovely person. It’s a tile he made whilst doing a V&A residency, showing a Greek goddess’s head. I bought this through the Own Art scheme from the Bluecoat (gallery) stand at COLLECT. I love this credit scheme – it enables me to justify buying more expensive pieces, as I can spread the payments over my “craft-year”. Again.

At Chelsea, in the early days, I wasn’t interested in jewellery at all but I’ve now come to really like it. I feel I can treat myself, it’s an age thing, I don’t need to just get things for the house.

I have a Daphne Krinos piece, a turquoise necklace which I wear every week, if not every day. I’d seen it at Origin two years in succession and tried it on both times. I waited till I had a glut of TV work ( my former job) so I could treat myself and decided that if the necklace was there at the next Origin I would buy it. It was.

My daughter, who’s 12, has a fantastic collection of contemporary craft earrings. She has some Jane Moore necklaces and my husband has some of Jane’s cufflinks. We do like Jane Moore in our house.

Patterned handmade resin bangle by Jane Dzisiewski.

I also love Jane Dzisiewiski’s jewellery. She lives locally. I bought a beautiful brooch from our fair last year, and some of her bangles. The resin bangles makes a great clank. And her rings feel beautiful to wear and I love her colour palette.

Silver ring with rutilated quartz by Chris Boland.

Another person I bought from recently is Chris Boland. I love his very angular, masculine, chunky gemstone rings. Last year I went to Sri Lanka where there are lots of gemstones. I found an emerald cut citrine stone which he’s set for me. I wear it to death, washing up, cleaning the car so the silver will need re oxidising soon!

Work by Julie Arkell, with thanks to the Bluecoat for the image

Another favourite piece of mine is a Julie Arkell from the Bluecoat Gallery in Liverpool – “Lamby and me”. I asked if she’d reserve the piece for me but still had to go and see the whole exhibition. It was very expensive so another Own Art purchase but I justified buying it on the grounds that I can pass it on to one of my daughters!

3. How do you decide what to buy?

A piece has to catch my eye or make me laugh, or I have to be astounded at the workmanship. It has to move me in some way.

4. Do you visit studios as part of your collecting?

Yes, I do. I tend to do my research first, to know who I want to see or what I’d like to talk to them about. I particularly like it if there’s a collection of studios which has more of a fair feel to it, like at Persistence Works.

Persistence Works, Sheffield, designed by Feilden Clegg Bradley Architects

5. What was the first thing you bought and what attracted you to it?

My first piece was a Linda Miller embroidery which I bought at Chelsea. It was quite expensive, around £400, 15 years ago. I’d seen her work the previous year and went back with the aim of buying from her. It’s called “Honey Bees”, with a man and woman floating through a vivid turquoise sky, with a scattering of golden bees. It makes me smile and its colours are wonderfully uplifting. It’s a cheerful, witty and quirky piece. For both my daughters’ first birthdays I got them a Linda Miller piece and I’ve since bought other little pieces from her as gifts for friends.

6. Tell us about your favourite piece of contemporary craft.

I recently bought an Olivia Brown dog. I first saw her at Chelsea, but it was shortly after I left college so I had no money to buy one then.

"Sitting Westie" by Olivia Brown

I saw Olivia at Holmfirth Market last year and thought “one day I am going to buy one of her dogs”. I was walking away thinking about the £250 price when I thought “no, I’m going to buy it today”. I didn’t even have the money, so I had to get £200 from the cashpoint (the maximum I could take out) and borrowed some from Angela. My daughter has wanted a dog for some time so I was able to go home and tell her that we’d got one. She took it to school and fed it for a week. We’ve called him Rodger, after my dad, and he lives on the hearth. He’s a talking point for anyone who comes to visit, even for people who aren’t usually interested in craft. Although at £250 he was expensive, I tend to justify the cost over a “craft year”, meaning he wasn’t that expensive!

7. Obstacles such as money and space aside, what piece of contemporary craft would you most like to have?

I would have bought the Tracey Emin tapestry “Black Cat” which was made at West Dean and shown at COLLECT last year. It is just fantastic. Better than the painting.

8. Do you have any tips for aspiring collectors?

Fairs are a good place to buy as there is lots of choice.

If you see something you really like, it will stick with you so if you can afford it, buy it, otherwise save up for it.

Top 5 Craft Events At London Design Festival

I’ve planned a visit to the London Design Festival as there are many things craft-wise of interest. Here are my tips.

There’s usually much else going on at the event venues so check the websites for other details. For journey planning information I recommend TfL's Journeyplanner, even for the cyclists amongst us.

The tips are in date order.

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The Craftcentral one day sale

Why should you go?

You’ll get to meet over 30 makers in person (including Helen Foot and her glorious woven textiles which Paul Smith has already spotted), find distinctive contemporary craft for the home, enjoy the discounts on offer (with selected items up to 50% off retail prices) and you’ll have the chance to take up Ceramic Review’s subscription offer (subscribe before 24 September to receive two free issues).

When is it?

Mon 17 September 12-7pm

Where is it?

CraftCentral, EC1M 4DS

How much does it cost?

It's free

More info

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The Crafts Council's "Added Value?" exhibition

Why should you go?

This is the launch of the Craft Council’s latest touring exhibition so definitely worth a look in if you want to keep at the forefront of the questions of the day.

Here you’ll find the makers investigating differing perceptions of value, with the exhibition exploring the increasing desire for authenticity, quality and craftsmanship, which is redefining our understanding of luxury.

When is it?

Tues 19 - Sun 23 Sept

Where is it?

designjunction, WC1A 1BA

How much does it cost?

It's free.

More info

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Tent London and its Craft Market

Why should you go?

There’s lots of inspiration to be had at this event with over 200 international exhibitors showing the latest in contemporary interior products - furniture, lighting, ceramics, textiles, materials and accessories. Mostly you’ll have to place orders with exhibitors but in the Craft Market you’ll be able to buy from 30 makers on the day.

When is it?

Thur 20 – Sun 23 September

Where is it?

Old Truman Brewery, E1

How much does it cost?

Adult & Student - £8* in advance / £10 on the door
Child 5-16 yrs - £5
Under 5’s - Free

*To save 20% purchase tickets online before 14 Sept 2012.

More info

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Ceramics in the City

Why should you go?

This will be my 3^rd visit- I love the Geffrye Museum as well as the ceramics that are on show. There’s a lovely café too. The show features the work of about 50 ceramicists, established and emerging artists, presenting everything from functional tableware to quirky one-off pieces. Prices range from £10 for mugs and small pieces to hundreds of pounds for larger statement pieces so it's a good place for gifts and treats. There are also free demos on the Saturday and Sunday.

When is it?

Fri 21 – Sun 23 Sept

Where is it?

The Geffrye Museum, E2 8EA

How much does it cost?

It's free

More info

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Debate: Art, Craft & Design - cross-overs and boundaries in the 21st century

Why should you go?

This promises to be a really interesting discussion of the evolving nature of craft and how shifting allegiances and cross-overs have led it to defy categorisation. Speakers include Robin Wood, chair of the Heritage Craft Association, Tanya Harrod, visiting professor at the Royal College of Art and Christopher Frayling, who was the chair of Arts Council England.

When is it?

Fri 21 September 10.30-12.30

Where is it?

Hochhauser Auditorium, Sackler Centre, the V&A, SW7 2RL

How much does it cost?

It's free

More info

Meet the collector: Anne

Anne, a public worker in Sheffield, has been collecting since her teens, although she didn’t realise she was a collector till recently. She spoke to Janet Paske. For a quick preview of what Anne would collect, here’s her personal collection.

1. Do you consider yourself a collector of contemporary craft? If so, how does that make you feel?

I probably didn’t consider myself a collector till I met you, but yes, I guess so. I have collected a few things along the way because I’ve always liked crafty and arty things. I suppose if I have a spare bit of money that’s what I like to buy, not because it’s going to increase in value but because I see things that I like and make me feel good.

When other people appreciate what you like or value your tastes and interests, then that heightens my interest and my passion. And over the last 10-15 years, I’ve had a little more income to spend. I’ve appreciated that’s it not just a bit of a whim. It’s something that I really like; I enjoy collecting lots of different things. But I know what I like and I know what I don’t like.

Realising I am collector makes me feel a bit worried really. I suppose I think it’s a bit odd because it sounds pretentious. I have this horrible thought in my head ….it makes me think of Saatchi going around buying up lots of stuff. I hate all that. I’m not really a showy person. Anything I have has purely been for me or my home, or has meant something for myself, my partner or my son. In my head, collectors aren’t people like you or me. I see them more like Saatchi, the aristocracy or people who have lots of disposable income who buy not because they like things but because they can have them and they don’t necessarily share them.

I have some Royal Copenhagen plates from many years ago, which may be worth something. Someone once joked that they might be worth more than I thought, but I’d never think of selling them. Could they accrue in value? I couldn’t go and buy something because of that. They have to mean something to me. It’s more about having meaning for me, than the financial aspect. It does seem weird to me, being a collector.

2. Tell us a little about the contemporary craft you have. What does your collection include?

It sounds really grand when you call it a collection. It’s not that grand.

I’ve inherited a few nice things that have sentimental value which has then led on to my appreciation of more contemporary stuff. When I first started collecting, the makers such as Emma Bridgewater tended not to be not well known, whereas now some have become so mainstream; in my early 20s no-one had them.

I have some jewellery which I bought years ago with birthday money from the Yorkshire Sculpture Park . Then I saved up for some pieces from “Washing Line Woman”, as I call her, Jenni Wilson, a silversmith in Birmingham. At the time she was relatively unknown but she has become more and more popular. I have recently bought some Ruth Moilliett flowers from Cupola, and feel responsible for a small increase in her sales as several friends have done the same.

There’s a lovely gallery in Marazion in Cornwall where I remember buying my lovely blackbird necklace. But now everyone has one; they’re all over the place. On the one hand it validates that you have a good eye, but on the other hand, I really liked it when I was the only person who had that bird on the wire. You can buy them in the Millenium Galleries.

3. So how do you decide what to buy?

I guess that comes down to money usually. But things like holidays and places that I associate with nice things and good times really so St Ives, Yorkshire Sculpture Park, Welbeck Christmas Craft Fair, Broomhill Sculpture Gallery in Devon, places that I associate with nice – not necessarily a good word - tasteful, different arty things and, that in turn when you’re on holiday or visiting places, I’d probably raid my piggy bank if I found something I really liked.

Some things I decide in consultation, so for pictures for example, I’d discuss it with my partner. For others, such as a tiny piece of Bernard Leach or a piece of contemporary jewellery costing less than £20, I might be more impulsive.

In terms of pictures or the clocks, it’s very much a joint exercise. I wouldn’t want anything around my home which my family didn’t like.

4. Do you visit studios as part of your collecting? If so, what makes your visits interesting?

Usually I go to places that I am familiar with; I’d need to know that they had something I’d like, like Cupola or mainstream galleries, such as the Tate, Yorkshire Sculpture Park or the Millenium Gallery, which have a gallery/ shop attached.

It is about confidence, money and interest.

I guess this is really personal, I think there’s a real mystique about, a real class thing about it but I think there are some places where it is dead easy and acceptable to see contemporary craft such as the Yorkshire Sculpture Park, where it’s public, you’re welcome, it’s part of a day looking at other things, it’s educative, there’s a real attempt to appeal to the masses albeit that there would be some key pieces, perhaps needing OwnArt [the scheme where people can get an interest free loan to buy art and craft].

5. What was the first thing you bought and what attracted you to it?

I started buying mugs and cups and saucers as far back as when I was 16 or 17. We had a brilliant shop in Hexham, Pinfold, that was ahead of its time, showcasing up and coming makers. It opened when I was in 6th Form. Pinfold stocked Emma Bridgewater and Nicolas Mosse Pottery; they all have that stamped sponged design. They all originate from around 1980-82. My friend and I used to treat each other.

6. Tell us about your favourite piece of contemporary craft.

I’ve always liked clocks and I bought one of our first ones about 14 years ago, made by a guy called Chris Brammer from the Lake District. It’s my favourite because it’s really simple, funky, very solid, tactile. It’s got one big foot and 2 other smaller feet; it’s all metal. The second hand is like a coiled spring. No face, just plain, you have to guess the number. It’s really solid, chunky. There’s something really robust about it, there’s no finesse, a sturdy, solid bit of craft. And I can see exactly how he’s developed his work, smoothing his lines and making things bigger and more industrial.

I spoke with his father one year and he was quite envious of me. He said that he didn’t have such a clock, so I should really look after it. Chris is now a major architectural contemporary sculptor who has, for example, designed much of Leopold Square in Sheffield. He designed the bins and the stair rails, and he’s created some of the sculptures on Sustrans’ national cycle routes. That makes it even more interesting for me, to see how makers develop and evolve. I get some pleasure out of knowing that others appreciate talent too.

7. How do you go about finding contemporary craft?

Word of mouth, from my friends, the Sculpture Park, Welbeck. Sometimes I‘ll see something I like then I’ll go and look it up. Every now and then I search for Chris Brammer and Jennie Wilson and see if there is anything new but I wouldn’t buy it unless I really liked it, not for the sake of it. It tends to be when I’m on holiday so many holidays in Cornwall have influenced my finding of contemporary craft.

I think it’s also about finding things by chance, so discovering about the Harley Gallery through a friend made me think “Whoa…there’s somewhere else to go”.

8. Tell us about one of your favourite makers. What connects you to their work and why are they a favourite?

It would be Chris Brammer. There is something warming about the fact that he’s done really well. There are the connections with the Lake District, connections with the north, where I am from. And it’s a very unpretentious clock. And it works, it still works.

9. Obstacles such as money and space aside, what piece of contemporary craft would you most like to have?

There’s a place in Devon called Broomhill Sculpture Gallery, which I‘ve been to twice over the years, both times accidently, once in the rain. They had an exhibition of a bronze sculptor. The sculpture was in grey metal – it is probably bronze I think – and it reminds me of Degas’ ballerina, but it wasn’t a ballerina. There’s something really haunting about it. I bought 3 or 4 postcards of it which I still have. I thought “When I’m 50 I’m going to buy that” but it’s probably way out of my league. There’s just something really appealing about it but I don’t remember what; I had to be dragged out of the gallery still looking at it. There was something about the way this figure was; it just was fab. This is what I hate about art, not being able to find the words. I haven’t looked online for it for a while; there was a time when I used to look. Perhaps I’ll do that when I go home?

10. Do you have a tip for aspiring collectors?

It’s about knowing what you like and don’t like. That’s what’s brilliant about it, everyone has their own tastes.

If you’re wondering what Anne’s taste is like, here’s her personal collection.

Pots of pots

It’s that time of year again – and no, I don’t mean the rainy season (although things might be looking up on that front soon?). It’s the time of year when potters from all over the UK, and some from abroad, get together at various events to tempt us with their wares. And when I say potters, I mean those who sculpt with clay too – so that would be ‘ceramics’ then. And there lies my dilemma; there seems to be some dispute over the use of the word ‘ceramicist’ versus ‘ceramist’, to describe those who make ceramics. (I have a recollection of being told at college, and yes, I can remember that far back, that ‘ceramicist’ didn’t exist, and the word to use was ‘ceramist’.) Now I know the obvious thing would be to look it up in the dictionary, and so, not wanting to dismiss the obvious, I did just that. And guess what? They are both listed. So that seems to leave me exactly where I started, with my original dilemma (but with the added satisfaction of knowing that what they tell you at college isn’t always right!).

Anyway, back to the events I think you should know about. These are the biggest events showing a wide range of work, varying in styles, prices and the level of experience of the maker.

First and foremost in my mind is the annual Earth and Fire at Rufford Abbey Country Park, Ollerton, in Nottinghamshire – not least because it happens to be starting this week, on Friday 22^nd June, and runs until Sunday 24^th June. Four Craft Finder makers will be there, (and there are over 100 showing in total) so good luck to Bridget Drakeford, Aimee Fisher, Margaret Gardiner and Rachel Wood. As a lover of ceramics, I’ve been many times to this event, and usually come away with a little treat.

If you happen to be further south from Friday 6^th to Sunday 8^th July, why not take a look at Art in Clay at Hatfield House? Now I do remember one particular visit to this event, a few years ago. As it’s not on the doorstep for me, I decided to stay overnight in a hotel, so I could be up and at the show first thing in the morning. Through no fault of their own, the hotel in question had their water supply cut off that very morning, and although I don’t recall what I drank, I do remember washing my hair with a bottle of Evian!

(There is a second annual Art in Clay at Farnham , on November 17^th – 18^th – but that seems ages away, and it messes up my chronological ordering of events somewhat.)

So back to July and back up north…. Potfest in the Park, in Hutton-in-the-Forest, 5 miles outside Penrith, Cumbria, takes place from Friday 27^th to Sunday 29^th July. These potters (or dare I say ceramicists) tend to think we are most likely to spend our pennies on a Friday, Saturday or Sunday, which is probably true. And when I say pennies, I mean just that. Many of the makers cannot process credit card transactions at these events, so you have been warned! Just a week later is Potfest in the Pens, also just outside Penrith but this time in Skirsgill. The dates for your diary are 3^rd – 5^th August. And just in case you were wondering, don’t expect to see the same makers at both events. Sounds like a week’s holiday in the making if you ask me.

There are plenty of other events coming up, where you can see ceramics alongside other contemporary crafts. Check out those listed on Craft Finder here. Art in Action at Waterperry House in Oxfordshire is just one of them, and runs from 19^th – 22^nd July. As its title suggests, this is where you get to see demonstrations and live performances galore. In fact, all of the events mentioned above include classes, talks and/or demonstrations, as well as all the pots of course.

Go. Go and enjoy.

Glass-y Acts

I suspect some of you, like me, may not be particularly interested in the sport-y aspects of the Olympics and Paralympics but I’m pleased to see that we have been thought about. As part of the Cultural Olympiad, the Contemporary Glass Society has come to our aid with their Glass Games 2012. They’ve set up over 70 different events where people can explore and enjoy contemporary glass.

The British Glass Biennale is here to delight us in the late summer at Stourbridge, together with the annual International Festival of Glass. That’s a lot of events, so let me help you through the many choices with some of my highlights for the summer months.

Let’s start with the Olympic torch (thank you Ester Segarra for the great photo). Some of you will have seen this on our Facebook page a few weeks ago. What a fantastic object. Just as the relay of the Olympic torch will link the whole of the UK to the London Games, this stunning glass baton will link 7 events for Glass Games 2012. It was created especially for the Games by artist Bruce Marks, who has work in the Turner Museum of Glass.

So where can you see the torch?

The CGS Glass Games Exhibition at The Gallery In Redchurch Street, London, 13-23 Jun

“Burning Fat” and “Mirror To Discovery” exhibitions at the National Glass Centre, Sunderland, 27 Jun – 4 Jul

"Games" – a glass panel exhibition at the National Waterfront Museum, Swansea. 7 - 17 Jul

Grass Games Event at Parndon Mill, Harlow, Essex, 20 - 23 July

"Snakes & Ladders" exhibition Belfry Arts Centre, Overstrand, Norfolk, 26 July – 15 Aug

"Medallions" exhibition at The Ruskin Glass Centre, Amblecote, near Stourbridge, W. Midlands 22 Aug – 15

Sept (Baton at venue to the 27 Aug)

"Glass Games" at the Give and Take Conference plus Cultural Exchange Exhibition North Lands Creative Glass, Lybster, Caithness 30 August – 24 September

As a very keen cyclist myself (Yorkshire Dales 2 weeks ago, west coast of Scotland this weekend) I’d love someone to report back on the “Burning Fat exhibition” where Richard Wheater transforms a salvaged bicycle into a light-emitting exercise machine. That’s where you come in, as your pedalling energy is converted into light through mounted neon bulbs.

And while you are there you could watch the film in the “Mirror to Discovery” exhibition about the creation of the largest ever single piece of glass for a telescope lens in the Palomar Telescope in California.

Now to Stourbridge, where the Glass Games will wrap up with the "Medallions" exhibition. Imaginative interpretations of the Olympic medal from many leading glass artists will be on show at the Ruskin Glass Centre (here's where you can find it). I've always had a soft spot for medallions ever since I saw Pisanello's medallion of Leonello d'Este at the British Museum, so would love to see how medallions have been interpreted in glass. This leads me nicely into the International Festival of Glass as "Medallions" is part of it.

I have been to the International Festival and the British Glass Biennale only once, taking a weekend to absorb as much as I could fit in. I really enjoyed the wide range of glass on display from very experienced studio glass makers to people who were at the start of their glassmaking journey. The demonstrations really brought home to me the complexities and team nature of making glass.

So how did the Biennale come about? In the early days of planning the International Festival of Glass, it was recognised that there was an urgent need for an exhibition that would show what was going on in the UK-based glass world. Most artists work within confines of their own studios so it is often hard to know what is going on outside of that environment. The exhibition was therefore set up to be an opportunity to demonstrate a regular snapshot. It’s been running since 2004 and aims to show ‘the pulse of recent achievement in contemporary British glass, and to display this wide range of creativity‘. Some of our makers are there this year, including Stuart Akroyd and James Lethbridge. The Biennale runs from the 24 August to 15 September at the Ruskin Glass Centre too, and it's free to get in.

The International Festival of Glass also started in 2004, rooted in the Stourbridge Glass Quarter, and it's brought together glass artists and visitors from around the world. 2012 represents the 400 year milestone of glassmaking in Stourbridge as well as 50 years of studio glass worldwide so this year’s Festival reflects upon these achievements. At the moment the final programme is not quite finalised but is said to include a diverse program of demonstrations, lectures, performances, exhibitions and have-a-go sessions. It is a unique celebration of the local and the international in contemporary glass. I highly recommend it.

As you can see, I have only scratched the surface of what's on this summer. If you want to find out about other glass events which are happening the Contemporary Glass Society's event search is a good place to start.

Start Collect-ing

It's that time of year again and COLLECT, the international craft event in the UK, is taking place over this weekend. I went for the first time last year and was exhausted after trying to fit everything in to one day. This year I can still only go for one day but I'm going to pace myself better.

Some of our makers will be there, represented by their galleries, and I'm privileged to be trusted to take down a work of art made by Keith Tyssen. He is ever the experimenter. This time his experimentation has meant working up to the last minute. His creation has not quite gone according to plan so has been started several times. Hence it's being taken down by me, to be delivered first thing tomorrow morning. Pop by the Gallerie Sofia Lachaert on the first floor to see it. It's a double skin silver on copper dish.

As well as over 30 international craft galleries, there is a new Crafts Council touring exhibition, Raw Space. This shows furniture characterised by a deliberate transparency of technique, materiality and process, evident in their look and feel. And Project Space is there, with 10 installations, this time from artists focussing on textiles and furniture.

The ArtFund is running its competition for curators, giving them a chance to win £75,000 of contemporary craft to take back for their museums. The curators, from as far afield as Norwich, Aberdeen, Exeter and Rochdale must, in just one hour, explore the Fair and select the object they most want to see added to their museum’s collection. They then have to defend their choice in a presentation to a panel of experts. Sounds tough to me.

The studio of Peter Layton, "the grand old man of glass", has teamed up with the Crafts Council to create a simple competition (just your name and email address needed). If you love his work, here's a chance to win a piece - or else to enjoy a one day beginner's class in his studio.If you can't make it to the event, you can still enjoy some of the objects on display as the Crafts Council have created a collection with some of their favourite tweeters.

If you love the sound of Collect, and you've not been before, how about planning to go next year?

Come celebrate our launch

At last, we're going to have an official launch.

What's the longest time you've waited for something? This certainly hasn't been like waiting for my favourite pudding whilst eating the first course. I had the inspiration for Craft Finder in August 2010 so that means I've been waiting for the launch for over 20 months. At the start I had no inkling how long it would take to get going. I just hope you think it's been worth it.

So, when, where and what is the launch event? We thought Craft & Design Month was the perfect month to launch, and that the Sheffield OpenUp event provides a good opportunity to meet art and craft lovers. So please come and say hello. We'll be in the Atrium at Yorkshire Artspace from 11-5 on Saturday and Sunday 12 -13 May. There'll be plenty of opportunity to have a play on the site for those of you who've not had time. And for those of you who have, it's a perfect opportunity to tell us what you think.

I hope you can come along. We're looking forward to meeting you.

Hurray

Welcome to Craft Finder and our very first blog. We’ve just launched, thanks to the dedication and support of many people, and are delighted to bring to you a flavour of what’s to come. We have a great selection of makers already and our heartfelt thanks go to all of them who’ve shared our first steps. We are now working hard to bring you more makers so you have many more opportunities to find and enjoy contemporary craft.

Please take a look around and be part of us as we grow. You can already create your own My Craft Finder account (see our FAQs for why you might like to do this) and sign up for our newsletter. And you can follow us on Twitter and Facebook to get our latest news and updates.