MAY/JUNE 1983
Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4
Telephone 680764 / 603070
Patchwork Exhibition Opening the Irish Patchwork Society's First National Exhibition of Quilts and Wai I hangings in Dublin, Professor Justin Keating, Chairman of the Crafts Council, expressed "a sense of honour at being present at something important to the cultural life of Ireland." He suggested that a reason why the craft or art of patchwork had taken so long to come to the public consciousness and why only then was being mounted the first national exhibition was a certain sexism in culture which ignored the gravitas of womens work and overlooked the importance of the creative element in what was regarded as the mundane activity of making quilts. In the many exhibits Professor Keating could detect in the designs certain shapes that he would call mandalas which, he felt, can be small and private or as great as a cathedral rose window, but in this instance could be seen as associated with the comfort and reassurance of the bed, of twilight, of half consciousness and of sleep. Craftsmanship he saw as the counterbalance to the many ills of industrial society. Children could not but be affected positively and for good by growing up in the environment of beautiful things made by people about them whom they knew and loved. The exhibition, in the Bank of Ireland Exhibition Hall ran from May 5th to May 1.8th. 48 exhibits were shown by 30 designer craftswomen and men and dimensions were as small as 2 0 " x 2 0 " and as large as 108" x 84". This exhibition of contemporary quilts and wall hangings provided members with the opportunity to express their.creative instincts. The spectrum covered by individual members interpretation of both traditional design and contemporary inspiration was quite dramatic. Traditional design was covered by classical hexagons, tumbling blocks,
'Arrow Play', a patchwork by Aileen Quinn of Limerick, size 7' 6" show at the Irish Patchwork Society's recent exhibition. cathedral window and log cabin variations. The inspiration for the contemporary quilts stemed from many sources as varied as the signs of the Zodiac and a Victorian ceramic tile panel. The range of textiles used in the exhibits includes cotton, linen, manmade fibres, tweed, wool, velvet, corduray, calico and silks of many weights. Further information about the Irish Patchwork Society may be obtained by contacting the Information Officer, Ann McDermott at 01-513373.
A.G.M.Date The date of the Council's Annual General Meeting has been fixed for Wednesday, June 29th and Thomas Prior House will be the venue as is usual. While final details of time will be sent to all members it is expected to be 11.30 a.m.
PARCEL POST SERVICE TO THE USA In the last issue of Newsletter, details were given of the new Surface Air Lifted Parcel Post Service being run by the Department of Posts and Telegraphs. Since that item was written the prices of SAL have gone up. They are now: First Kilogramme ÂŁ3.75 Each additional 500 grammes or part thereof ÂŁ0.80
3rd Mid West Craft Award Shannon Development has announced details of the Third Mid West Craft Awards. This year, the emphasis of the Awards scheme is changed from previous years to concentrate on a sustained effort of achievement on the part of existing or new craft projects in the Region. All entries will be monitored closely during the year and the £3,000 prizefund will be awarded to craft projects considered to have achieved most during the period under review. The main objective of the competition is to encourage existing craft projects and newcomers to the industry to develop their projects in a professional manner. Priority consideration will be given to planning and control, produce design and marketing strategy. While turnover and profitability will be important factors, they will not be the dominant criteria. The prizefund will be divided into four categories, with £1,500 going to the project deemed to have attained the overall best achievement. Three category prizes of £500 each will be awarded for the best achievements in hard goods, soft goods and new craft project sectors. The overall winner will also receive a Perpetual Trophy designed by goldsmith/ silversmith Brian Gleeson of Ballycasey Workshops. Shannon Development staff or their nominees will interview all participants at their workplace within a month of the closing date. The status of each project will be established and progress will be monitored until October 31. At the end of the review period, a short list of finalists will be submitted to an independent panel of judges, from which the winners will be announced in early December.
COMMENT
To qualify for residence it is necessary to show evidence of sustained dedication and a significant level of achievement.
A UNIQUE CREATIVE ENVIRONMENT When Sir Tyrone Guthrie died in 1971 he left his family home to be a retreat where artists might work in peaceful surroundings. Through the mediation of the Arts Councils of the north and south of Ireland this imaginative bequest was finally brought to life in October 1982.
Applications are reviewed by a penel of well known artists and admissions are made on the basis of the number of residencies available. In the appraisal of an application particular attention is paid to the outline of the project to be undertaken at the Centre. People who have a clear idea of what they want to do will get most benefit from a sojourn at Annaghmakerrig.
Annaghmakerrig is ideally suited to its new role. It is set in attractive pastoral countryside in a quiet corner of County Monaghan and overlooks an extensvie lake. There are mature woods on all sides where deer roam freely. Each guest at Annaghmakerrig has a comfortable private apartment within the house. There are studio facilities for painters and sculptors. At the end of one wing there is a big room where composers and musicians work. At certain times of the year it may be used by small theatre or musical groups to develop new ideas. There are books throughout the house and the library proper has a wide range of volumes representing generations of the family's interests in medicine, theology, nature, literature and especially the theatre. The drama collection is one of the finest in Ireland.
Once accepted Irish artists are asked to contribute what they can afford towards the cost of their stay. The rest is made up by bursaries administered by the Centre. Overseas artists are expected to pay the whole cost of a residency, though from time to time special bursaries may be available. We will give every assistance in obtaining grants from the appropriate cultural institutions in the artist's home country. Anyone who is interested should write for further information and an application form to: Bernard Loughlin, Resident Director, The Tyrone Guthrie Centre, Annaghmakerrig, Newbliss, Co. Monaghan. Phone Newbliss 3.
Though designed for artists rather than craftsmen, there may well be craftsmen with a project in mind who could benefit such a retreat. How to apply: The Tyrone Guthrie Centre is open to practitioners of all the arts, from the north and south of Ireland and from farther afield.
BASKETRY CANE CHAIR CANE RUSHES & WILLOWS RUG 6" STITCHER Y KITS
COURSES Crafts Council is constantly being asked for details of available craft courses. If any craftsmenare planning to run courses, please let the Council know. A record is kept by the Council of all training availably, whether in Art Colleges, Regional Technical Colleges or other venues but to be in any way useful the information must be as compre hensive and up to date as possible. Through the Council, a large/ number of people will hear about individual courses.
Radley Searle, of Potstone Ltd., The Old Rectory, Kilmore, Co. Roscommon, is running evening classes in pottery every Thursday night at 8.00 p.m. Classes are for anyone with an interest in pottery, whether experienced or not. Radley is considering holding classes on Saturday mornings if enough people wish it.
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For further information contact Radley directly, telephone: Kilmore 47.
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years anniversary—
Telex: 87258 7983
Mary Restieaux, who will be the coleader with Marianne Straub of the woven textile workshop to be held in Ga/way Regional Technical College as part of the WCC-Europe Conference to be held in Ireland in September, pictured here with two of her hangings.
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Woven bowl — 5we Erridge, Belltable Arts Centre Exhibition.
Thailand Craft Tour
EXHIBITIONS
The World Crafts Council has the pleasure of inviting craftsmen and others interested to join the Inaugural Craft Culture Tour to the Kingdom of Thailand sponsored by the World Crafts Council in November 1983. The great interest in the crafts of the world and an eagerness to meet craftspeople where they live and work is the reason for this tour, designed so that the visit is made in the company of experts and representatives of the World Crafts Council.
POTTERS'83 Potters '83, the forth National exhibition of the Craft Potters Society of Ireland was opened on 2nd May by Mr. Noel Sheridan, Director of the National College of Art. Mr. Paddy Weston, President of the Society commented on the standard of work which he said was due very largely to the unselfish dedication of the professional potters who "over the last decade or more, dedicated themselves to developing the high standard of pottery available in
Craftspeople and artist-craftsmen will be visited in their studios, as also historical sites, rural villages, Bangkok University, the National Museum of Thailand (in Bankok Chiang Mai and Sukhotai), and private collections of ceramics and textiles. Upon arrival in Bangkok a reception at the Siam Society will enable participants to meet fellow travellers and be welcomed by Thai hosts and the WCC Vice President for Asia, Raja Fuziah bte. Raja Tun Uda from Kuala Lumpur, Malaysia; Princess Ng. Purachatra of Thailand; Mr. Bhotong Keowsuddhi, WCC Deputy Vice President for South East Asia (Thailand) and Mr. Carin Wilson from Auckland, New Zealand. Participants will receive a warm Asian welcome to Thailand by the World Crafts Council and enjoy the characteristic gentleness and courtesy of the Thai people. Space will be limited, so please contact: Ruth N. Barratt, Executive Director World Crafts Council 401 Park Avenue South New York, NY 10016 U.S.A.
Newsletter The Crafts Council would like its Newsletter to be more than simply an information sheet. It would like it also to be a forum for discussion of the many issues which interest and worry craftsmen today. Articles would therefore be most welcome, on any subject, however strange, controversial or outlandish, provided it is relevant to craftsmen and their work. Apart from providing a place where thoughts can be aired, it wsuld also be interesting to get people's reaction to those thoughts. In addition the fullest understanding of craftsmen's thinking is essential if the Council is to properly represent them at Government level.
"Potters '83": a pot by Ron Wynne
Ireland today. They have been helped by small industrial grants which, while modest against the huge sums apparently required to create jobs in some industrial undertakings, have enabled them to get going and provide work for a limited labour force. Their dedication goes far beyond just making a living. He continued: "I cannot but say, however, that in common with other craft and creative people, the potters are genuinely concerned about the future and, with their work attracting the highest VAT rate in Europe it is increasingly difficult to be competitive." Sixty one exhibitors, full time professionals, part timers and students in a wide variety of styles and with a good deal of professionalism. The well chosen exhibits were excellently mounted and while there were no dramatic or innovative highlights neither was the bottom line an obvious one. Once again the immediate impression was of dedication to the ideals of the Society to attention to detail and a well laid out exhibition. P. J. Carroll & Co. provide the space in their fine headquarters in Grand Parade — what a pity that both this and the Bank of Ireland in Baggot Street which are so generously given for exhibition are slightly away from the centre of the city where exposure to a wider audience would be so beneficial, if not in sales terms then in terms of education.
FAENZA - 1983 Five Irish potters have entered work for the Faenza International Ceramics Exhibition this year. The Crafts Council coordinated the documentation and freighting of the pieces. The five were, in alphabetical order, Pat Connor, Vivienne Foley, Jane Forrester, Tom Mullaney and Peter Wolstenholme. We wish them well.
HANDWEAVERS GUILD OF CORK EXHIBITION The Handweavers Guild of Cork is in the process of organising its third exhibition, entitled "Weaving '83". The dates have been set for 12th to 24th September 1983 and the venue is to be the Crawford Municipal Gallery, Cork. For further information contact Barbara Harte, Clarke's Bridge, Co. Cork. WEAVERS EXHIBITION 1983 The Irish Guild of Weavers Spinners and Dyers are holding their second nationwide exhibition in the Bank of Ireland. Exhibition Hall, Lower Baggot Street, Dublin 2, from September 13th
to 23rd. Last year's exhibition generated great interest around the country and attracted many new members to the Guild. With a membership of approximately one hundred and fifty, representing both hobby and professional weavers, a very exciting exhibition is being planned for this year. It will run concurrently with the European Crafts Conference in Dublin. Enquiries to: Valerie Cullen, Rozel, Kilpedder, Co. Wicklow. Tel: 01-819230.
TREE THEME EXHIBITION At the Goodwin Gallery in Limerick and from 20th May in Ballycaseymore Craft Courtyard at Shannon was an interesting exhibition by eight Clare artists and craftsmen on the theme of the tree. The mixed media included woodturning, painting, jewellery textile and sculpture.
COMMENT POTTERS '83 AT CARROLLS Potters '83, organised by the Craft Potters Society of Ireland, is the fourth annual exhibition of the work of Irish Potters. It is, by nature, part trade fair, part assessment of the years achievements and part clearing house for ideas. Sixty one potters participated in the exhibition which included the work of students and part-time potters as well as that of professional potters. It might look as though the ranks of the professionals needed to be filled out to make a good showing since several well-known names were missing. However the youthfulness of the whole craft pottery movement is its strength and the CPS I encourages all comers. Being a young movement studio potters are in search of an identity — not only on a national or a personal level but also to give studio pottery itself an identity as a major art form. The works on exhibition aptly illustrate this search and the varying attitudes of potters from traditional thrown earthenware and oriental influenced stoneware to a western interpretation of raku and west-coast funk. However, the Leach tradition is still so strong that visitors to the exhibition could be excused for thinking that they had walked into an exhibition of Japanese ceramics. Stoneware, the backbone of the studiopottery movement, is very well represented — not least by Peter and Helena Brennan whose pots have classic proportions. Cutting, which is the surface treatment of two of Peter's bowls, is so
perfectly integrated that it becomes part of the structure of the pots. It might seem wrong to bracket the Brennan's work together yet in both cases their work would sit easily with that of the oriental masters. Geoffrey Healy's stoneware jars also have an aura of quiet repose and their heavy bases give them a venerable quality like ancient tomb furniture. Ita Corcoran's blue dish is in a similar vein. It would be reasonable to say that stoneware, more often seen as domestic ware, is presented here in a very favourable light. In contrast with the contemplative stoneware the sensual earthenware of Kevin Wright satisfies the desire for plastic form. In addition to the strong plastic form the clay body is allowed to penetrate the glaze and to determine the visual parameters of the pots with knife like precision. Wright's work is a powerful plea for more potters to work in earthenware yet it is only a short step from the controlled plasticity exhibited in the traditional flower pots of Michael Roche. Such maturity i.e. control of the clay is a valuable asset and is an aspect of professionalism which is more evident here in potters working in stoneware than in other clays. Surface treatment is a problematic area well resolved by Jim Behan whose lidded storage jar has a confident balance of form and decoration though is let down by the pitted glaze. On the other hand Michael Jackson's red bowl, despite having a strong lip, fails to convince because of the indecisive decoration which appears to be very much an afterthought. Nevertheless his 'undecorated' celadon bowl has a pool of glaze at the bottom which is a successful counterfoil to the shape. Both Mark Dwyer and Frank Muldowney fill their plates with watery birds. Their brush strokes are energetic yet such decoration demands a confidence which neither potter has yet quite mastered. This fascination with oriental decorative motifs (let alone forms) is understandably strong but it belongs to a totally different culture which should be approached with caution. Few potters seem to be able to handle decoration with assurance though an exception is Brenda O'Brien whose white silhouettes are evenly balanced by the speckled blue glaze. Her handling of colour is good though put in the shade by Peter Watts whose control of red in his spherical wooden-handled pot is only comparable with Hester Scott's blue for brilliance. It is a pity that Paddy Molony doesn't give his funky figures brighter brilliance. It is a pity that Paddy Molony
doesn't give his funky figures brighter colours as their impact would be greatly increased. However the coal-black miner goes some way to explore such possibilities. While Molony's ceramic sculpture is enigmatic John Butler's is straightforwardly humorous — a rare quality which few artists possess. Butler dominates his medium so that he produces strong resolved forms. It is worth while comparing his work with Chris Kelly's whose River God, Anna Livia and Dodder Duck lack this command of form. On the other hand Kelly's coiled pot is a powerful multi valent image suggestive of a cult object in a pagan ceremony. It will be interesting to see whether these sculptors maintain their pace as sculpture is time-consuming and the results unreliable. Brian Keogh's delicate fruit-like forms, Sarah Ryan's precious gourds and Anna Kee's wall plaque explore the problems of perception through porcelain. Maxine Mearn's pueblo-inspired porcelain pots must be mentioned since they are such a strange contradiction — using a form and decoration which was developed in a society that was very different from that which developed porcelain. Few potters working in porcelain can produce a sense of confidence in their work yet Jane Forrester's plates take on an ethereal quality which is outstandingly beautiful and a superb image of late twentieth century porcelain. If it can be said that Irish porcelain has come a long way in thelast few years raku is only at the starting post. Though Leslie Cassells exhibits only raku pots the volatile technique is so effectively controlled that further experiment must be undertaken. Peter Wolstenholme's spagetti plate and Hester Scott's daring shapes and colours show something of the potential of raku though it is Neil Read who gets the most out of this, as yet, little exploited technique. Throughout the exhibition it is possible to detect a strong commitment to clay though the organisers should demand a higher standard from the exhibitors. There were a few items on show which were not of the quality that one would have expected from a national exhibition. This may be because the emphasis is on one-off pieces instead of production ware and exhibitors wish to show their most experimental pieces. With luck this is a sign that studio pottery is changing direction towards the sculptural and the experimental. William Garner
COMMENT PATCHWORK EXHIBITION The Irish Patchwork Society held their first exhibition at the Bank of Ireland Exhibition Hall in Baggot St., from the 5th to the 18th of May. To walk up the steps of this severe, impersonal bronze and glass building into such a colourful, friendly and female world was very refreshing. Here we see the results of a group of women working with authority, assurance and skill at a task they obviously love. Here it seems people matter. Old skills are treasured and women are still making, quilts as they have done in the past. Sometimes they are working for their families — to celebrate the birth of a child, for example, or a marriage. Occasionally they work together at the same quilt, enjoying each other's company as they share ideas and materials. Once the materials shared were the unworn parts of old shirts and dresses, but now the choice is enormous and the results very often stunning. The sixty-five exhibits included quilts big and small from cot to double bed size and a range of wall-hangings crafted in a riot of colourful materials. Every available fabric was used, both man-made and natural, dyed and undyed, from tweed, cotton and calico to Chinese and Thai silks. The techniques used were just as varied. As well as the traditional patchwork designs and techniques, there were some exhibitors using a more contemporary approach.
texture and delicate colour in the stitchery for its impact. She also produced a more traditional log cabin quilt using intense and darkly, vibrant floral fabrics. More inventive quilt-making techniques were used by Rosemary McCarthy-Murrogh in her work Airborne which is appealing in both colour and design. Alison Erridge's Geometric Garden is delightful in its gentle tones of pink and green triangles of calico. Other quilt-makers moving away from traditional designs are Jennifer Kingston,
Among the many fine quilt-makers is Michele Hughes with her silk Chequerboard. This is a refined and subtly rich piece which uses a variety of natural undyed silks and depends on 6
craftsmanship. Hands Across the Water,
another co-operative work produced by the Hill House Quilters, is a friendship quilt of twelve blocks using traditional designs and is a tribute to the skill of the women who made it. Somehow it symbolises the renewal of interest in this traditional and worthwhile' craft where co-operation was always highly valued.
whose Zodiac and Four Elements uses
applique and reverse applique in strong dark colours, and Nora Mulcahy with a pictorial quilt Along the River Shannon. She has handstitched and hand-quilted twenty views of the river in tones of blues and greens on yellow. Waterwheel by Grania McElligott, Cathedral Windows by Rosemary
McLoughlin and Shady Rail Fence by Mildred Matthews are three of the many exciting although traditional designs. Mildred Matthews also produced the unusual David's Christmas Quilt, which is made for a small boy and is one of the more personal contributions in the tradition of quilts made to celebrate someone or something. Quilts for cots were always a part of patchwork tradition and Little Annie by Rosemary McCann Paysen is a pleasing example Jane Houston Almquist's Mountmellick Christening Quilt
embroidered with antique cotton thread is another link with tradition. It is very encouraging to see young people
Apart from two or three wall-hangings, notably Carolina Lily Bed by Ruth Me Donnell, who used a traditional style with an Egyptian feeling, and Grania McElligott's colourful Summer in Silk, a hanging based on stained glass, the quilts were by far the more successful of the two types of exhibit. In the quilts, apart from the occasional use of over-sweet stereotype figures, the design kept pace with the craftsmanship and there was a sureness and ease in handling both. The wallhangings by contrast showed uncertainties in design and lacked the aesthetic subtlety that is imperative in things made simply to tfe looked at. Perhaps this is an area in which the Society could help its members. There is a great fund of creativity and enthusiasm to build on.
co-operating in the best tradition of quilt making. The pupils of Inch National School, Killeagh, Co. Cork have produced Log Cabin Kaleidoscope, a competent quilt with a good standard of
Because of the widespread interest in the exhibitionjThe Patchwork Society are agreeable to sharing their exhibition with other interested groups around the country. Let us hope the offer will be availed of because it should provide a tremendous source of stimulus and inspiration for other women interested in the craft. MARY BRADY
Markku Piri from Fin/and with some of the printed fabrics which he made for Marimekko. Markku is co-leader of the printed textile workshop, part of the WCC-Europe Conference being held in Ireland in September 1983.
CRAFTSPUN YARNS LTD. Johnstown Naas, Co. Kildare. Phone: (045) 76881.
Suppliers & Stockists of all types of yarn for Weavers & Knitters. For Weavers: 100% Wool Tweed yarns, Cottons, Silks & Linens. For Knitters: Traditional 3-ply Aran Yarns in 100% Wool. For Knitters with Home Machines: 4-ply yarns in 100% Wool & Wool Blends. Write now for further details, post free. Irish Agents for Ash ford Handicrafts: Spinning Wheels, Looms, Carders etc. In stock. Also Materials to spin.
Sculptured vase form in leather, Opus 2, # I, about 12" high, 1979, by Marc Goldring, co-leader, of the leather workshop, part of the WCC-Europe Conference to be held in Ireland in September 1983.
Leather pot by Marc Goldring
NOTICE TO LEATHER WORKERS Ecotech is the major supplier of leathercraft materials to amateur leather workers in Ireland, largely through the post, although many customers do travel quite long distances to visit the factory in Westport. Ecotech thinks that selling leathercraft supplies by post is very much a second best way of distributing the goods as from the customers point of view, because with a substance as diverse as leather one really needs to feel and see it before one buys. Also many customers are beginners and need advice which can best be given face to face. Therefore Ecotech intends to open a Dublin shop and warehouse during 1983 — ideally no later than mid-August, so that it is ready for the peak period of craft activity in the Autumn. However, the shop is likely to be a relative failure unless it is run by people with a good personal knowledge of leathercraft and finding such people is really the most important step. It may be that a husband and wife team of leathercraft workers would welcome the opportunity to move into a workshop in a central Dublin location. Their idea is that they will provide a workshop and display space within their shop for this type of person in exchange for their handling customers as they call — they do not envisage that there will be customers in the shop continuously. They would prefer to recruit an older couple for this job. No capital investment will be required and a commission will be paid on all sales For further information contact: Richard Douthwaite, Ecotech Ltd., Lodge Road, Westport, Co. Mayo. Tel: Westport 548.
Exporting for the Smaller Firm Coras Trachtala, in association with Allied Irish Banks has just published a most valuable and informative booklet called "Introduction to Exporting for the Smaller Firm". It is a mine of information as can be judged by the table of contents alone Chapter headings include "Where you can get help", "Choosing an export market", "Dispatching the export order", "Export documentation and procedures", "Finance". Various sub headings are: — "Shortlisting potential markets", "How to get the market information you need", "Making a marketing plan", "Grooming your product", "Promoting your product", "Hints on pricing", "Why documentation is necessary", "How to cope with documentation", "Sources of finance", "Methods of payment", "Foreign exchange", "Taxation", etc. The book can be got on request from CTT or copies may be obtained from Crafts Council of Ireland, there is no charge. It is of course intended as an introductory guide for the small firm. More and more small business men, craftsmen and craft co-operatives see that they must turn to the markets outside this country if they are to maximise their businesses. Many craftsmen, in particular those who have high VAT problems must begin to look outwards. But it cannot be done lightly and without a good deal of preparation and, above all, a capacity to adapt their products and their presentation to the customer needs in other markets. While a valuable guide, as the introduction to the booklet says "No one does things totally by the book but . . . adequate preparatory work can make the difference between losing your shirt and selling it at a profit".
COTTAGE FOR RENT A newly renovated thatched cottage in Shannon Town Centre is available for rent as studio/workshop premises. The floor area of 600 square feet suited to this function is divided into two rooms but does not allow for living accommodation. Details of rent, lease, etc., from the Property Administration Manager, Shannon Development.
Porcelain vase by Vivienne Foley