JULY/AUGUST 1981
NEWSLETTER
RAFT LTD. Thomas Prior House, Merrion Road, Ballsbridge, Dublin 4 Telephone 01 680764
Successful Conclusion to1981 WCC-Europe Conference in Denmark Nearly 200 participants from twenty-two countries came together in Copenhagen on 5 June for the final weekend activities of the 1981 World Crafts Council European Conference. The majority had taken part in the eighteen workshops, examining various aspects of the major craft disciplines, or in a Study Tour organised by the Danish Institute in conjunction with the conference. A small group of participants joined the others for the weekend session, between 5 and 7 June. This included excursions to places of interest in Danish crafts, various social events, and a full day's discussion on the results of the workshops and the possibilities of future WCC-Europe activities. The discussion indicated the overall success of the workshops while highlighting a number of ways in which the arrangements for the next conference could be improved. The major success of the whole conference was the feeling gained from a large majority of the craftsmen that the purposes and activities of the World Crafts Council provided direct benefits for them. A number expressed their determination to encourage their own WCC National Entity-the craft organisation representing the WCC in their country—to improve their involvement in the World Crafts Council. WCC-Europe believes that it is only through the committed interest of individuals that National Entities can strengthen their own organisation and thus properly support the World Crafts Council at regional and global levels. The 1981 WCC-European Conference could prove to have been a turning point in the ability of the region to act more forcibly on behalf of the crafts in Europe.
Adrienne Crowe at work in the "Mug Marathon" (see story page 5) The 1981 WCC-European Assembly, the AGM for all national members in the region, also held in Copenhagen on 7 June, regretfully decided to close the London Secretariat for WCC-Europe due to insufficient financial support. The Polish Entity, CEPELIA, will now provide a 'clearing house' Secretariat for WCC-Europe. This will ensure that the work and services will continue while efforts are concentrated on fundraising to re-establish a full-time secretariat for the region. The Assembly also elected a new WCCEuropean Board for the 1981/84 period. The new Board members are Ed Salden, Chairman and WCC Vice President for Europe; John Vedel-Rieper, Deputy Chairman, and WCC Deputy Vice President for Europe; Denis Beauge, Secretary; Lou Schmidt, Treasurer; and members Aasa Hellman, Rolf HimbergLarsen, Czeslaw Sawicki and Jan Walgrave. The Board members are responsible for the regional affairs of WCC-Europe, not representing their national interests, but their nationalities are, respectively, the Netherlands, Denmark, France, Switzerland, Finland, Norway, Poland and Belgium
Special Meeting About fifty craftsmen attended the special meeting on 30 July, held by the Crafts Council of Ireland, for the purpose of presenting Council members with an opportunity of airing their views about the craft scene generally and Crafts Council's role in particular. The meeting was quite informal, and representatives of all the craft orgaRisations were invited to Jury's Hotel for lunch and a discussion afterwards. Various topics were discussed but it soon became apparent that the thing most worrying to craftsmen was the present rate of VAT and the even more disconcerting possibility of the 25% rate being raised to 35%. There was some discussion on this, the two views expressed being that the Government should be pressed to lower the VAT rate on crafts, and that representations should be made to have the VAT threshold lowered. In the end it was decided that both approaches should be made, there being something to be gained by success in either direction.
Exhibition of Ceramics Visit to Belgium It was good to see Sonja Landweer exhibiting at the David Hendricks gallery after such a long absence of nearly nine years, though the memories of her last exhibition are still fresh in many people's minds. This year, gone are the feathers but she has retained her remarkable glaze technique using subdued shades of natural colours, browns, greys, rust, etc. However, on occasional pieces, she sues bright pinks and sky blues to sharpen our senses and see her pots in a different light. Her forms are as delicate and well balanced as ever, with as much attention and work being applied to the interior as to the outside. This is carried through both in the throwing and the glazing. This awareness for the interior form as an entity by itself makes much of her work unique. I feel the pieces that worked best were her wide bowls with fine and delicate rims standing high off their stands on a slender foot. Sometimes these rims were brought out all the more strongly by the use of contrasting erruptive glazes, roughening the surfaces. Overall the exhibition was a great success though personally I felt her lidded forms did not work so well, but this is probably due to the fact that I feel the interior shapes are such an important part of Sonja Landweer's work. Michael Jackson
VAT concessions for crafts For some time the Council has been aware of the very severe problem that a VAT rate of 25% presents to craftsmen. Several representations have been made and meetings held with the Department using the services of a VAT expert but so far to no avail. However, since the new Government came to power the possibility of the 25% rate being raised to 35% has thrown the Council into fresh activity. The new VAT rates could mean the 25% rate being raised to 35% but some things which formerly came under the old rate could be put into the new 15% bracket. The Council's hope is that crafts be included in this rate. Action now stands a good chance of success and with this in mind the Council has made fresh representation to the Government. We will report results in the next Newsletter.
In the course of a visit to see an interesting fabric, traditionally regarded as part of The Mantle of Saint Brigid at the Saint Saviour's Cathedral, Bruges, I was invited to the Institut Royal du Patrimoine Artistique in Brussels. There I was kindly received by Doctor L. Masschelin, Head of the Department of Laboratories, attached to which is a section for the restoration of old tapestries. In the Tapestry Restoration Studio I saw work being done on a 1570 Brussels tapestry which had been woven for Ghent A small piece, a chair seat, in a floral design, was being restored for a Royal Palace chair. They also showed me a large linen painted fabric laid on a table. It was dated 200 years before Christ and needed much repair. In order to clean it they had raised the table at one end to let the water run over it until the water ran clear. The colours, they said, showed up well while it was wet. I was shown many Coptic pieces, and of special interest to me were two Coptic bonnets, incomplete but woven in linen of natural colour, with some red and black colours in wool woven into the fabric. Doctor Masschelin's work is mainly to analyse dye stuffs, by taking first a thread, one or two centimetres long, from the back of the tapestry and then testing it. She says that in early days the Guilds were very strict about dyes, only allowing Indigo, Madder and Weld to be used. She showed me her very good record book of vegetable dyes which included Kermes, and a purple sample from the Murex shell that someone had sent her from America.
Woodbending and Furniture Workshop: European Conference The following is a general report on the WCC Workshop and convention which we attended in Copenhagen. The Workshop was Woodbending and furniture materials. It covered a fourday period and consisted of a series of discussions, lectures, practical demonstrations and visits to Cabinet makers in both Denmark and Sweden. The Workshop leaders were Urarno Gudiksen and John Vedel-Rieper, with participants from Italy, New Zealand, France, England, Holland, Poland, Belgium and Ireland. From all points of view the Workshop was highly success足 ful, the organisation was excellent, the timetable being strictly adhered to and no time wasted in the mornings or between lectures, etc. The content of the Workshops was of a very high standard with visits to such world renowned Cabinet Makers as Rud Rasmussens, producers of Kaare Klint's designs. We ourselves have gained immensely from the Workshop experience not only from the very high standards we have already mentioned but also from contact with other participants in the Workshop. The ability to compare and discuss work with other craftsmen from different countries proved to be the highlight of the Work足 shop. The discussions were not only about techniques but also about the problems which all craftworkers have in exhibiting, selling, etc. etc.
Apart from our own Workshop, we also had the opportunity to see exhibitions of various Danish crafts. This was a great opportunity to see Irish crafts in an international context and find that in a These Museum people were delighted to lot of disciplines, Irish craftwork was of meet someone from Ireland; perhaps this an equally high standard. The confidence new friendship with Brussels will help in gained from this was a very positive different ways and we can share and attitude which we took home with us. exchange our knowledge with each other From our point of view, the WCC to our mutual benefit. European Conference benefitted us Lillias Mitchell greatly and we would hope to be able Irish Guild of Weavers, Spinners and Dyers to participate in such events in the future. Dermot and Mary Toland
RDS Crafts Competition and Exhibition This year's Royal Dublin Society Crafts Competition attracted 823 items, the biggest since the competition was revived in 1968. A more important factor was the big improvement in standards which were deemed by the judges to be the highest reached in the history of the competition. This achievement was very gratifying for the RDS, particularly during the year when the Society is celebrating the 350th anniversary of its foundation in 1731. Speaking during the prize-giving ceremony and preview of the Crafts Exhibition on 30 July 1981, Mr James Meenan, President of the Royal Dublin Society, pointed out that the development of crafts in Ireland had been a major concern of the Society since its earliest days. During this function a special welcome was extended to representatives from the Crafts Council of Ireland Craftworkers Associations who had been invited to thi RDS reception following a meeting in Dublin earlier in the day. The prize winners are listed separately and six other first prizewinning craft workers were selected for interview at a later date to decide the winner of the ÂŁ1,000 Scholarship or Development Grant. Thousands of visitors thronged the stand where the prizeqinning entries from the competition were exhibited during the Horse Show. Most items were sold and many commissions were negotiated. A unique feature of this year's display was a special historic lace exhibition which attracted a great deal of attention and admiration. The craftworkers who wish to receive details of next year's competition should send their names and addresses to the Arts Administrator, Royal Dublin Society Ballsbridge, Dublin 4. Telephone 680645, extension 312. Betty Searson Royal Dublin Society
Photographs above show some of the prize winners in the RDS Crafts Competition. TOP: bowl by Brian Clarke won a first prize. CENTRE: Joe Hogan's woven willow basket was also awarded a first prize. BELOW: looking like a strange full moon, the beautifully turned wooden platter made by Michael Dickson also won a prize.
RDS Crafts Competition 1981
Class 12a • - Work in Irish Leather 1st Carmen and Edmond Chesneau, Co Wicklow
The following is the list of prize-winners in the Royal Dublin Society Crafts Competition 1981.
Class 12b — Work in Any Leather 1st Brendan F Brennan, Dublin
Class 1 Ceramics for Use 1st John Murphy, Antrim 2nd Geoffrey Healey, Bray, Co Wicklow 3rd Helena Brennan, Dun Laoghaire Class 2 — Decorative and Sculptural Ceramics 1st Bernadette Stewart, Belfast 2nd Kathleen Edwards, Co Donegal 3rd Rosemary Gray, Kilworth, Co Cork Class 3 - Glass 2nd Adrienne Diamond, Dublin 3rd Keith Leadbetter, Co Kilkenny Class 4 — Stained Glass There were no awards in this Class. Class 5a — Work in Any Metal 1st Brian Clarke, Co Wicklow 3rd Andrew Grierson, Co Cork Class 5b — Smithwork 2nd Norman Braiden, Belfast 3rd Thomas Brooker, Co Down Class 5c — Work in Tin and Copper by Travelling People 3rd Michael Power, Carlow Class 6 - Gold and Silver 1st Peter Donovan, Kilkenny Class 7 — Jewellery 1st Desmond Byrne and Martin Doyle, KDW 2nd Liam Costigan, Kilkenny 3rd Trevor Power, Co Wicklow Class 8 — Enamelling 2nd Aine Murphy, Co Wexford Class 9a — Turned Wood 1st Br. Ciaran Forbes, Co Limerick 2nd Michael Dickson, Co Antrim 3rd Barry Fitzgerald, Co Carlow Class 9b - Any Objects Made in Wood 1st Desmond Conlon, Blefast 2nd Eric Campbell, Co Tipperary 3rd Bridget Dinne Bolton, Co Wicklow Class 10 — Musical Instruments 1st Anthony O'Brien and Andrew Robinson, Dublin 2nd Kevin O'Callaghan, Co Cork 3rd Samuel Patrick Murray, Co Down Class 11 - Rod, Rush and Straw Work 1st Joe Hogan, Co Galway
Class 13 - Floor Rugs 1st Annie Dibble, Dublin 2nd Mary Scally, Co Offaly 3rd Denis J Murphy Class 14a — Knee Rugs, Bed Covers, etc. 1st Jacqueline M Clarke, Belfast Class 14b — Woven Lengths 2nd Junko Okamura, Co Wicklow
Class 19 — Patchwork and Quilting 1st Rita Whelan, Dublin 2nd Patricia Baxter Cardwell, Co Down 3rd Caroline Hamilton, Co Antrim Class 20 — Woven, Embroidered, Printed or Knitted Article for Ceremonial Use 1st Margaret Graham, Newry 2nd Wilma Kirkpatrick, Co Antrim Class 20 — Woven, Embroidered, Printed or Knitted Article - other garments 1st Lucy Erridge, Co Clare 1st Inez Nordell, Dublin 9 (1st place shared) 2nd Kakuko Okamura, Co Wicklow 3rd Avril Halliday, Belfast
Class 14c — Designs for Woven Fabric Lengths 1st Catherine M MacAleavey, Dublin Class 15 — Constructed Wallhangings 1st Anna Niamh Hurley, Dublin 1st Jill Bright, Co Cork 2nd Marian Young, Co Derry 2nd Eileen Henderson, Co Kilkenny 3rd Frances Nugent, Co Dublin 3rd Brigid Rose Cunningham, Dublin (joint prize-winners) Class 16a - Fabric Printing - a length 1st Mel Bradley, Co Wicklow 2nd Geraldine O'Sullivan, Co Cork 3rd Una Wallace, Co Westmeath Class 16b - Printed Panel 1st Margaret M O'Dwyer, Dublin 2nd Mary Rose Cullen, Dublin Class 17 — Resist-dyed Fabric 1st Matthew O'Connell, Dublin 2nd Elizabeth G Martin, Co Meath 3rd Frances Culhane, Dublin Class 18 — Limerick Lace 2nd Sheila Regan, Co Dublin Class 18 — Carrickmacross Lace 1st Marie Cullen, Co Cavan 2nd Kathleen Flanaghan, Co Monaghan 3rd Sheila Regan, Co Dublin Class 18 - Irish Crochet 1st Mrs J Beagan, Co Fermanagh 2nd Teresa Bradley 3rd Mollie Moore, Wicklow Class 18 — Other Lace Techniques 1st Mollie Moore, Wicklow 2nd Margaret Cussen, Dublin Class 19 — White Embroidery 1st Sister Rosaleen McCabe, Dublin 2nd Kakuko Okamura, Co Wicklow Class 19 — Decorative Embroidery 2nd Alison Erridge, Shannon 3rd Dorothy McCrea, Dundalk
Violin made by Kevin O'Callaghan won a prize in the RDS Crafts Competition.
Mug Marathon Where the idea of a mug marathon came from is a bit of a mystery; I think it evolved from the pressure of work after a late Trade Fair. As a result of having to work very fast, there was one day in which I made 300 mugs in an afternoon . . . a long afternoon. What is most tiring about that sort of production is the preparation of the clay, since I do not have a de-airing pug-mill, it all has to be processed by hand- kneading up a hundredweight of clay is no piece of cake. What if I did not have to prepare the clay? How many mugs could I make then? Since the turn of the year the media had been telling me that it was the year of the disabled: St Michael's House have pottery workshops for training the mentally handicapped. Though the public was doing a tremendous amount for the physically handicapped, it seemed to me that there was virtually no mention made of the mentally handicapped. Putting various ideas together, the concept of a mug marathon to raise money for St Michael's House, both through sponsorship and through the sale of the mugs which would be fired and finished by St Michael's House, began to materialise. Gradually the details were filled in. Half a ton of clay was donated to the cause by M Kennedy and Sons Ltd which was a marvellous gift. Paul and Angela Martin kindly offered to prepare the clay in their pug-mill. We chose Wesley House as a venue, since it has a washable floor, a coffee bar and super loos, with a shower and all! To help us on, the Methodist Church in Leeson Park gave us the use of these premises free of charge, with the enthusiasm of their youth group thrown in for good measure, and they looked after the security and helped with the cleaning up afterwards. Denis Synott, pottery Manager in St Michael's House, organised the conversion of the hall into a small pottery factory for the weekend, and his colleague, Michael O'Farrell, ran the publicity end of things. So everything was set. The only possible problem was me. I had given myself the target of 1,000 mugs; the question was— could I do it? Could it be done in a marathon session? And if so, in what period of time? I had many discussions with other potters. Basing calculations on my normal throwing speed, I reckoned that I could
do it in about 24 hours; however, the general concensus of opinion was that I never would keep up that pace and would probably slow down considerably; there were visions of staggering in to the finish. A fortnight before the marathon, I was so lacking in confidence that if there had been any way that I could have cancelled it, I would have! How does one prepare for something like that? I rested as much as possible, taking over twelve hours sleep at night. Finally the day came, Friday 5 June at 3.00 pm . . . the first mug was thrown before a faithful crowd of family and friends that had rallied to offer moral support. My hands shook so much during the first fifty that it is a wonder that they came out at all. The digital watch brigade were keeping a close eye on proceedings and announced that I was making a mug every forty seconds. The faithful fans were amazed and, to be honest, so was I. I am told that in a • Marathon Run the athletes settle into a pace and keep it until the end. Perhaps that is true of all similar efforts because I certainly kept the same pace through out the marathon—forty seconds a mug. There was a break for a while every time a board of fifty mugs was completed, while two stalwart men would carefully remove the board, replacing it with an empty one. Getting back on to the wheel was pure agony. The pain of making the first five mugs was something extra ordinary until the cramped muscles settled down to work again. I had been expecting a certain amount of trouble from the old skin and bones and had asked Una Martin to come down about midnight. Una, Paul Martin's wife, is a physiotherapist and it was thanks to her ministrations that I was able to complete the marathon. I had just reached the 650 mark and the agony was excruciating when I took some time off. Una tackled the cramped muscles and spent ages pulverizing them back into action. After a shower and a change of clothes, I started again and flew home. By 6.30 am, eighteen and a half hours after commencing, I had made 1,000 mugs. I took a break and then did an additional fifty as a lap of honour. I have the happiest memories of the event because it showed me the great amount of goodwill that there is in people: the numbers of people that came down to see what was going on and the support of the potters who helped with the weighing out of the 350gm balls of clay, and especially Elizabeth Eaton and Anne-Marie Emch
who did the dogwatch with me from 2.00 to 8.00 am. Believe it or not, several people got up during the night just to come down and cheer me on. Sunday was a really super experience. All afternoon potters came in for as long as they were able, to put on a hundred or so handles, people like Patrick Weston, Paul Martin and family, Geoffrey Healy, Brian Keogh, Mary O'Connor, Una Timmins and Alan Shattock and family . . . it was quite a party! During the evening, Denis Synott and two of the trainees, Fergus and Eddie, plyed their way back and forth between Wesley House and St Michael's House until the hall was cleared. Then, with five mops and several old towels, the youth group got the floor washed and dried, and set out the tables for an accountancy exam to be held in the hall at 9.00 am the next morning. What a transformation! It was five days before my hand healed enough to allow me to go back to work but it was worth it. At the time of writing, the mugs have yet to be glaze fired, but all being well, kiln gods permitting, they should be available, complete with commemorative stamp on the base, by the publication of the newsletter. They can be purchased from all the usual St Michael's House outlets. My sincere thanks to everyone who had anything to do with the whole event. Adrienne Crowe
European Conference Workshops GOLD AND SILVER
BORNHOLM POTTERS It was my honour to represent and report on behalf of the eighteen participants from Germany, Sweden, Norway, Finlan Scotland, Ireland and France in six workshops. We had a most successful gathering at Bornholm. This was due, in great measure, to the geography— Bornholm is a small island. The workshops being close together, discussion of problems was continued at all times: in the workshops, at meals, when digging clay on the beach, building kilns raku, salt or sawdust. Experience and skill was shared. It was also possible to visit all the work shops and the host potters helped, not only their participants, but other members of the group also. This exchange of ideas and skills in all locationsworkshops, museums, the co-operative shop and while travelling-provided a continuity. Slide shows with views of background locations helped identify individual problems and appreciation of solutions. The host potters never hesitated once in providing instant travel to wherever we chose to go. The group chemistry worked very well indeed. On the negative side, there were aspects of the arrangements that gave concern:
It was felt that participants should be allowed the choice of cheap accommodation close to the workshop if possible;
2
communication between the WCC and the host craftsmen. In the main the initiative was left to the craftsmen and there was no recommended approach; 3
To pursue pottery making and allow a full cycle of production, it was considered that ten days should be made available for a meeting; 4
It would be preferred that participants should be full-time and committed potters; 5 In any future developments of workshop contacts, the participants were concerned that the interests of those taking part should be considered. Perhaps a questionnaire could be designed and processed in good time to accommodate a difference of philosophy or technical requirements of different members; 6 Whilst, as participants, we would naturally like the cost of any future meeting to be reasonably low, we would hope that administration costs would be kept to the minimum but that the hosts would be adequately rewarded; 7 That consideration should be given to some means of providing a fun to allow the less well-off to attend. Finally we, the participants, would like to put on record our appreciation of the warm and good hearted response we had from our friends and colleagues from Bornholm. May we meet again soon in Ireland. Peter Brennan
Concern was expressed about the
We have all agreed that this was a success ful workshop and that basically the concept was a good one. On the other hand, we felt that we should have had more time to get to know each other, to enable us to see each other's slides and discuss each other's work. We were required to produce a finished piece of work ready for an exhibition. This meant working long hard hours. This pressure of work brought about a type of individual isolation which we feel could have been avoided by reducing the importance of the exhibition, or by introducing some common theme, be it the exploration of some special technique which each participant could incorporate into his or her individual piece, or a common project where each participant could contribute to the completion of a single item. We were disappointed that we could not see more of our workshop leader, who was also a participant. It seems that he was involved in a lot of administrative work which necessitated him being in another part of the building working alone and also being available to us, answering the ever-ringing telephone and solving the many administrative problems which seem to have occurred. We all had expected more information before the conference concerning the other participants, so that we could have known in advance who we would be working with. This would necessitate definite confirmation of participation by the participants well in advance of the conference. In this case there would be the possibility of having the most suitable people in each workshop.
Crafts Council Conference Bookings for this Conference are now being received at the Crafts Council offices and we would like to remind craftsmen that early booking is essential. For the first time, pressure of space makes it necessary to limit the number of people who can attend so to be sure of obtaining a place, please book straight away. This year's Conference, with its excellent input of overseas craftsmen and large number of local craft workshops open to delegates, (not to mention the promise of good food as provided by Susan Mosse/Kilkenny Design Workshops
and a selection of accommodation from sleeping bag and bunk to Grade A hotel) looks as if it will contain something of interest for all craftsmen. Well established full time professionals, or students contemplating a workshop of their own will find, among the many craftsmen and semi-State representatives present, someone who can help them with their particular problems. October seems a long way off but actually it isn't. Booking now is essential if you want to take part in this Confer Conference, the first of its kind ever run by Crafts Council of Ireland.
We feel also that much more control should be given to the workshop leader to enable him in the case where there are a lot of applicants, to choose the people most suited to the workshop. Brian Clarke