SEPTEMBER/OCTOBER 1983
Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4
Telephone 680764 / 603070
MINISTER FOR CRAFT SECTOR In all the concentration on the European Crafts Conference, the full significance of the statement issued by the Minister for Industry and Energy on the occasion of the state reception for delegates on 16th September may have had less impact than if it were made in isolation. The Minister in his statement saw 1983 as marking the beginning of a new stage in the development of the craft industry in Ireland. The fact of the Crafts Council's amendment of its Memorandum and Articles to allow the Minister to appoint five members of the Management Committee was noted and the statement went on to say "this restructuring of the Management Committee will ensure that it is adequately represented by administrators, craftworkers and the state bodies who are concerned with the crafts sector." WCC-Europe Conference in September. A tense moment during the glass workshop at Two key paragraphs follow: "In the past the craft industry may not have received the attention merited by its potential for growth and job creation. For this reason I have decided that the Minister of State at the Department of Industry and Energy, Mr. Eddie Collins, T.D. is to be given special responsibility for the development of the craft sector, including responsibility for the Crafts Council of Ireland . . . a central feature of the Minister of State's role will be to ensure that the activities of all the state agencies concerned will be co-ordinated to ensure maximum development of the crafts industry."
The Minister for industry & Energy, Mr. John Bruton, Mr. Frank Sutton, Executive Officer, Crafts Council, Mr. Eddie Collins, T.D. Minister of State Department of Industry & Energy and Mr. Padraig White Managing Director, Industrial Development Authority at the State Reception.
Jerpoint Glass
EXHIBITIONS
up with a plan which is simultaneously visionary and realistic, I am convinced that the support we need from both Government and the private sector will be provided."
INTERNATIONAL CRAFTS Powerscourt Townhouse was the venue and Power Securities the hosts to an exhibition of the works of craftsmen attending the European Crafts Conference in September. There were over 200 exhibits, ranging from ceramics, glass, wall hangings, enamels, to woodturnings, lace, patchwork, and embroidery. Countries represented included Finland, Denmark, England, Norway, Czechoslovakia, Switzerland, Hungary, Holland, France, Sweden, Yugoslavia, Greece, Belgium, Scotland, Germany, Israel, Poland, Wales and Ireland. Apart from the dramatic effect of the hanging of large patchwork quilts high up around the central courtyard, the exhibition of the work of the many international craftsmen suffered from having to be representative of all those taking part, irrespective of their status, and from the pieces having to be of a size handy enough to be brought as baggage. It was a valiant idea, however, and one suited to the occasion and when allowances are made for the restriction it put on itself and its being spread over three unconnected locations and so lacked cohesion, it succeeded. There were some memorable pieces: A wooden construction Day/Night by Greek Patrick Contanzos, two small fabric pictures by Noreen Daly, glass by Jiri Subajek of Czechoslovakia, Allie Kay's wool/silk suit, Phillip Murphy's silver scappio, Sylvia Federova's black bobbin lace necklace, for instance. Opening the exhibition, Professor Justin Keating, Chairman of the Crafts Council wished a warm welcome and fruitful work to all the distinguished craftworkers from 19 countries present, and suggested that it was timely to take stock of the crafts situation in Ireland with a glance both backwards and forwards. "In many ways", he said "we have suffered from the fact that we developed our economy more slowly than other Western European countries. But in the craft area it was a plus, because many traditional craftworkers, thatchers, wheelwrights, harness-makers, rush and basket weavers, weavers, knitters and lacemakers, blacksmiths, carpenters and stonemasons have maintained an unbroken tradition extending back a very long way. At last, late but hopefully not too late, we are beginning to look on this repository of craft skills as being as precious as our heritage of folklore,
In conclusion Professor Keating felt that every child as well as every adult has the right and the need to live surrounded by objects which are beautiful and which bear the marks of having been made in one place, one day, by a recognisable human being, which bear the marks of human hands and which are made with love and passion as well as skill.
Patchwork Banners at Powerscourt Townhouse — European Crafts Conference. language and traditional music. The extraordinary burst of artistic creativity which announced and paralleled the emergence of a new State just over 60 years ago was mainly in the field of word arts, and it is only recently that we have seen a like development in the plastics arts and in crafts". Professor Keating suggested that important changes were taking place in Irish crafts and that quality was rising rapidly. He viewed the improvement in the Crafts Council's structure, always relatively good, as preluding a dramatic increase in support for the Council. "We have", he continued "been called on by the Government to produce a long-term strategic plan for the development of crafts in Ireland. I will not now pre-empt what will be over the coming winter a lengthy and deep discussion by the crafts sector, but I expect that the major needs of the craftworkers are similar everywhere". Public awareness, and a cherishing of crafts by the public at large he saw as an essential background to success. "Many pressure groups compete for a place in public consciousness, and indeed in public spending patterns. A continuous effort extending from curriculum formation and primary school experience, through the purchasing policies of major public and private institutions, and extending right into all the media on a day-to-day basis is unavoidable, as is increased effort in the matter of exhibitions and collections. All these things are possible. If over the next half year, the Crafts Council comes
JEWELLERY AND SILVERSMITHING EXHIBITION The Modern Gallery in Kilkenny Castle was the setting for a tour de force of ar exhibition during the European Crafts Conference. The exhibition, hosted by the Kilkenny Art Gallery Society, was the College Diploma Show of Loughborough College of Art and Design in England. One might have been tempted to dismiss the exhibition because it was just another college diploma show, but it would have been a grave error of judgement. This was a show which one hopes every professional jeweller and silversmith in this country has seen, which no student aspiring to a diploma should have missed and which should have been compulsory viewing for all lecturers in our Art Colleges. The latter might ponder; the students aspire or despair; the professionals could hardly all feel secure, for there were lessons for all in the sheer quality of the craftsmanship and the variety and colour and imagination of the works on show from the barbaric splendour of gold to the most delicate of refractory works, from skilled enamelling to creations of great imagination and wit. One hopes that this diploma show was that of outstanding vintage: it would be a most sobering thought if it were not.
EVERYDAY WORK The Kilkenny Crafts Guild, not satisfiec with mounting one fine exhibition in the Town Hall for Arts week, also mounted another exhibition a few weeks later in the Shee Alms House. This, entitled 'Everyday Work', was just that: outstanding examples of everyday work by the members of the Guild. It was mounted to coincide with the European Crafts Conference and was opened by Shane McAuley, Projects Manager of IDA Small
Industries Division and also ViceChairman of the Crafts Council, before a gathering of the European and other craftsmen who had come to Kilkenny for the various workshops taking place there and around the adjacent county in leather, glass, silversmithing, jewellery and batik. The visitors were to see fine examples of the work of their hosts. It was a pity that it was not possible to mount sub sequently and adjacently some work created by the workshops which would have been anything but everyday work. It was a well mounted exhibition of no startling works — one did not expect that. The craftsmanship was impeccable, and, being a selling exhibition, it deserved to sell well.
THE HANDWEAVERS GUILD OF CORK mounted an exhibition of members' work to mark the European Crafts Conference. The Municipal Gallery in Cork was the setting. The items on display were all competently crafted, but the gallery was perhaps not a sufficiently intimate setting to show them at their best as a total exhibition rather than a gathering of individual works. Competent rather than brilliant, orthodox rather than wildly exploratory, the exhibition was worth the effort and reflected a very active group sincerely concerned to understand their craft, to share development and to show to the public a very acceptable range of skills and works.
WOODEN BOXES ON EXHIBITION To coincide with the visit to Ireland of craftsmen and delegates to the European Crafts Conference, the Kilkenny Shop mounted an exhibition of forty specially commissioned wooden boxes from eight Irish craftsmen.
by the Woodturners Guild. Guild members recent successes include Nial Fitzduff winning the Crafts Council's silver medal at the RDS National Crafts Competition and Liam O'Neill winning the Muriel Gahan IR£1,000 Scholarship or Development Award. KILKENNY CRAFT GUILD EXHIBITION At the opening of the Kilkenny Crafts Guild exhibition connected with Kilkenny Arts Week in August, Mr. Eddie Collins, T.D., Minister of State at the Department of Industry and Energy spoke of the upsurge and interest in crafts in recent years which he found a heartening sign that we are, as a country, prepared to recognise the quality and style in the making of things and the central importance of the individual craftsperson. " I t is" the Minister said "a sign of our maturing taste that crafts are no longer thought of as souvenirs, artefacts that illustrate a culture, but more often seen nowadays as an integral part of our life style."
The exhibition is open 9 a.m. - 6 p.m. daily except Sundays at the Kilkenny Shop, Dublin, 7-21 September and at the Kilkenny Shop, Kilkenny, 27 September — 9 October. In recent years woodturning skills have been considerably increased in Ireland through the holding of several seminars led by distinguished overseas craftsmen, including Richard Raffan, Mike O'Donnell and Ray Key and organised
The exhibition, which was held in the town hall, featured the work of members of the guild and, since the guild has as members some of the leading craftsmen in the country the quality of the items on exhibit was high.
The boxes were on sale and the exhibition was a complete sell out.
The Craftsmen Potters Association celebrates its twenty-fifth anniversary this year. This national grouping of leading British professional studio potters has in this period seen a considerable broadening of interest and widening of horizons in both potters and purchaser alike. The range of potters within the C.P.A. membership is now spread across the whole spectrum, from the humble brown mug to the most advanced sculptural work. The exhibition consists of nearly 200 pieces by some 100 potters. The work was all made within the last year. The aim of the exhibition is to present, through works of top quality, the complete range of the studio potters craft as at present practised in Britain. The variety of works is startling; from sturdy storage jars to fine porcelain bowls, from plant pots to ocarinas, from unglazed textures to brilliant dazzling coloured glazes: Quality is the unifying theme.
The change in awareness he saw as not having taken place without the dedication of the craftspeople to the achievement of the highest standard in their work and the The exhibition, at the Victoria and Albert contribution made by the development Museum in London runs from 5th agencies and in particular the Crafts October to 27th November. Council. "The Crafts Council of Ireland can play an even more important role in the future to ensure that the unique dynamism and potential of the crafts sector to expand and grow can be fully exploited." The Minister pointed out that the Council has begun the preparation of a 5/10 year development plan for the crafts sector and went on to say " I look forward very much to receiving the Council's proposals when they are complete and can assure you that I look to this strategy to produce a frame work within which the state resources can be efficiently used to bring about maximum development in this sector. In embarking on the preparation of an ambitious development plan of this nature it is imperative that all those agencies, guilds and other interests concerned with the development of the crafts sector should be consulted. I am very glad to note that the Crafts Council has already embarked on this consultation process."
The boxes were made from twenty-five different timbers ranging from bog oak to Brazilian Kingwood to reflect the diverse international character of the Conference.
STUDIO CERAMICS Studio potters everywhere will be interested in this exhibition which celebrates the 25th anniversary of the Craftsmen Potters Association.
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EURO CONFERENCE The European Crafts Conference is over and we hope to publish in the next issue of Newsletter reports from some of the workshop leaders. However, it would be wrong to let this issue go without some comment. The whole event could be likened to the baking of a cake. Marion McGowan, seconded to the Crafts Council by the IDA, organised the basic ingredients: those arranged venues, willing workshop hosts, and distinguished workshop leaders from all over Europe and even the USA, found accommodation for them all, together with the participants (professional craftsmen from most of the European countries) and then put them together in the workshop bowl. The mixing of the cake, the real interaction of ingredients, was done by the craftsmen themselves. They came together in eighteen'different workshops from Galway to Schull, from Dublin to Inistioge, they pooled their experience, their different interpretations, and under the guidance of the leaders, sometimes catalysts, sometimes teachers, they created things which were different from their usual work. In some cases groups worked on a single project and in others they produced individual pieces which were innovative to the maker and inspired by the leader, the location and the other participants. Some of the results may
Anne Marie Shillito, leader of the workshop on refractory metals explaining the process
Markku Piri, Finland, leader of the Textile Print workshop in Dublin 4
have looked a bit crazy to outsiders but were, nevertheless, a vital act of free but disciplined expression from which participants took home, if not the object then the vital experience.
experience. One group, the Ballyvaughan textile workshop, has already decided to come together in six months with an exhibition of the tangible results of their •workshop, when these have been made. Another, the Rossmore textile workshop is working on a video of its work since The cake, so to speak, was put in the oven with the dispersal of the participants the combined creations of craftsmen, trees, grass, rocks, wind, rain and a. weird to their homes. It is now cooking. None can yet say what the result will be. So far assortment of 'things' cannot be shown in we know that everyone learnt something. any other form once the event is over. Many were delighted with their experience, some maybe a bit Most of the results, however, may hardly unimpressed but everyone agreed they be visible on the outside but the gained. At this moment craftsmen all over stimulation of ideas (for administrators as Europe are back in their workshops well as craftsmen) in people's minds, is making things. The things that they make there - the future will reveal it. will reflect their own thoughts but these, now, will hopefully include the Irish
Peter Wenger, leader of the batik workshop in Kilkenny — European Crafts Conference
LORD MAYOR'S RECEPTION The Lord Mayor of Dublin, Alderman Michael Keating T.D., was host at a reception on September 14th held in the Royal College of Surgeons for participants in the Administration workshop at the European Crafts Conference. Delegates came from Norway, UK, Wales, Sweden, Denmark, France, Holland, Belgium, Finland, Poland and Czechoslovakia.
The Architectural Ceramic workshop National College of Art & Design, which was led by Lillemor Petersson, Sweden
The workshop itself examined the structures of the various craft administrative groups in Europe whether formally set up as Crafts Councils or as having craft responsibilities within other groups relating to such disciplines as industrial design. The real meat of the workshop took place in the afternoon session when it examined the responsibilities facing craft administrators in a worldwide changing economic situation where structural unemployment appears permanent. The need for conferences on a regular basis as was continuity of workshop activities, was considered important. In particular the organisation of single theme international workshops with a proper follow up so that benefits would overflow national boundaries. The possibility for a valid functioning Europe wide organisation built from the bottom up on the basis of real function was seen to now exist due to the growth and consolidation of the constituent national units and this was seen as not necessarily having world wide connections. It was generally agreed that National organisations wishing to do so should draft plans for the crafts in their countries to cover a 5-7 year span and that national organisations should exchange and seek to co-ordinate such plans to have an agreed single draft for discussion at the 1985 Conference.
The Lord Mayor of Dublin, Alderman Michael Keating T.D., with Miss Blanaid Reddin and Mr. John Vedel-Rieper, Danish Crafts Council, at a reception for members of the Administration Workshop.
STATE RECEPTION St. Patrick's Hall in Dublin Castle was a fitting setting for the State Reception given by the Minister of Industry and Energy, Mr. John Bruton for the participants, workshop leaders and others involved in the European Crafts Conference. The colourful heraldic banners of the Knights of St. Patrick were reminiscent of the patchwork hangings seen earlier in the Powerscourt Townhouse Exhibition and the banners produced in the textile print workshop — all providing an appropriate setting to the colourful mix of European craftsmen, administrators and Ministers, and European Members of Parliament. It was an occasion to be remembered, especially as it was the first coming together of all the craftsmen who had taken part in the various workshops — Che first opportunity to see the full dimensions of the European Crafts Conference which up to that point had been a series of scattered groups very much doing their own work and almost unaware of the others doing the same, It was an important occasion and one felt it. St. Patrick's Hall, Dublin Castle where the State Reception was held during the European Crafts Conference.
KILWORTH TO DENMARK The City of Copenhagen Polytechnic offered to two of this year's Kilworth Craft Workshop's participants Gabrielle O'Connor and Heather McFadden the opportunity to participate in four courses in the period 10th October/16th December. The courses for the two silversmith/jewellers will be stone-setting, engraving, chasing and enamelling. The courses were offered free of course fees by the noted silversmith 1b Andersen who is Head of Department and who had led one of the workshops during the European Crafts Conference and had seen the work of both girls at first hand since they participated in his workshop. The acceptance of this wonderful opportunity was made possible by the immediate and very flexible attitude of AnCO to this aspect of their grant aided programme in Kilworth, and to their cooperation with the Crafts Council.
Ib Andersen, workshop leader of the Silversmithing workshop, with Gabrielle O'Connor.
THE DERRYNAFLAN CHALICE In February, 1980, a hoard of ecclesiastical silver was found near the ruins of an Early Christian church at Derrynaflan, about 9 miles from Cashel, Co. Tipperary. The hoard consisted of a chalice, a paten together with its stand or foot-ring, a strainer and a bronze basin. Following restoration in the British Museum, the chalice and the strainer are once again on display in the National Museum of Ireland. The chalice is lavishly ornamented with a band of gold filigree panels girdling the bowl just below the rim, gold filigree on the handles and their escutcheons, on the stem, on the foot just below the stem and onthe rim of the foot. The filigree panels depict animals, birds and more rarely abstract designs of knotwork. In construction and lay-out of ornament, the chalice is closely comparable to the Ardagh Chalice. Like the Ardagh Chalice, the Derrynaflan Chalice would have been used for dispensing the Communion wine to the congregation. The Chalice can be dated to the 9th century A.D.
CRAFTS IN SWEDEN The Experiment in International Living is a worldwide, non-profit organisation which promotes international and intercultural understanding. It was founded in 1932 and since then it has been making it possible for thousands of people of all ages and backgrounds to learn to live together by living together. In 1984 the Experiment in International Living is offering a selection of Crafts programmes to Sweden. HANDICRAFT - one or two week homestay with a practicing craftsperson. Possibilities include TEXTILE DYEING - (end Aug. - Sept.), WOODCARVING, POTTERY or WEAVING (Sept. to mid Dec. or mid Jan. to May). Craftspersons who participate stay with Swedish persons. £160 for two-week homestay, £100 for one-week homestay. Air Fares through the US IT office £300 approximately. The programme is available to everyone interested in crafts — students etc.
Further details and Application Forms available from The Experiment in International Living (056) 41127 or Dublin (01)829284. The Experiment in International Living, Byrnesgrove School, Ballyragget, Co. Kilkenny.
The Strainer is a plain bronze ladle in which is fitted a decoratively perforated strainer plate. Decorative mounts have been added to the rim of the bowl, the strainer plate handle and the terminal of the handle. Because of its size in relation to the chalice, it is unlikely that the strainer would have been used to strain altar wine except in a symbolic act as part of the Eucharist liturgy. It can be dated to the 8th century A.D.
DUBLIN WORKSHOP SPACE The Crafts Gallery at Powerscourt Townhouse will have two units available for rent, one almost immediately and one at the end of the year. They are most anxious to have a potter in residence as one of the units is geared for pottery use. The units are approximately 300 sq. ft. in a prime location in the Centre of Dublin with a good public throughput. Depending on the circumstances, the rent can attract an IDA grant of 45%. Details from Pat O'Byrne at the Craftsmans Gallery, Powerscourt Townhouse, South William Street, Dublin 2.
CERAMIC BIENNALE The 1984 International Ceramic Biennale in Vallauris in France is aimed at encouraging the production of original ceramic artworks. The exhibition of chosen work will be held at Vallauris from July to September. Two works may be submitted by prospective entrants. Application forms, which must reach the Biennale Committee by January 10th next are available from the Biennale Committee, Mairie de Vallauris, 06220 Vallauris, France.
RDS COMPETITION The Crafts Council of Ireland's silver medal was awarded to N.I. woodturner Nial Fitzduff of Co. Tyrone. The California Gold medal was won by Carol Mackey for a christening robe. The main prizewinners in the different categories were as follows: Functional ceramics: Michael Jackson Decorative/sculptural ceramics: Vivienne Foley. Glass: Rosemary Phelan Metalwork: Jonathan Fyffe Gold and Silverwork: Desmond Byrne Jewellery: Desmond Byrne Enamelling: Shelagh Magee Objects made in wood: Nial Murphy, Nial Fitzduff,.Liam O'Neill Musical Instruments: James O'Callaghan Rod/rush/straw: Joan Norman
SANDYMOUNT GROUP During the Community Week festivities in Sandymount from 21st-28th May last the Sandymount Crafts Group organised a Craft Fair in Christchurch Hall, Sandymount Green. The idea was to generate interest in crafts and to allow local people show their work, as well as providing a means for selling their work or taking orders.
Floor rugs: Mary O'Rourke Weaving/knee rugs etc: Rena Fleming Woven lengths: Alice Roden Constructed hangings/tapestry etc: Deirdre French Constructed hangings/experimental: Gerda Teljeur Fabric printing/length: Jeannaret Fay Fabric printing/panel: Anne McNulty Limerick Lace. Ellen Vaughan Carrickmacross Lace. Sheila Reagan Irish Crochet: Margaret McGuinness Other Lace: Jane Coulton Decorative Embroidery: Marion Young Patchwork: Joan Girdham Woven/embroidered etc. articles for ceremonial use: Carol Mackey Woven/embroidered etc. other garments. Margaret Malone. The IRÂŁ1,000 Muriel Gahan Scholarship or Development Grant was awarded to woodturner Liam O'Neill'.
The success of this first Crafts Fair has encouraged the Committee of Sandymount Crafts Group to sponsor a Christmas Fair in the same Hall on Sandymount Green on the 2nd-3rd of December next. Craft workers who are interested in participating should contact: Jacqueline McKay, 13 Beach Drive, Sandymount, Dublin 4. Tel: 685581.
VI O'SULLIVAN It is with deep regret that the Newsletter notes the death, since the last issue of Vi O'Sullivan, who was such a major influence in the development of studio crafts in this country. It was through her efforts that the quality of crafts was lifted out of the depths of leprechaunery to a level where the World General Assembly in Dublin in 1970 and many of the 600 delegates could find their equals among our craftsmen. The exhibition of Irish crafts held at that time in the new Library at TCD was nothing to be ashamed of and the prize winners were worthy of the international acclaim they got. Vi O'Sullivan was one of the small band who encouraged the WCC to come to Dublin in 1970. It is sad to think that she missed the European Crafts Conference last month which, with the many workshops operating around the country, would have let her see the strength of the crafts sector today. A craftswoman in her own right, she deserves to be remembered by everyone in the crafts sector, many of whom may not realise how much they are in her debt.
SLIDE PACK An experiment in producing a reasonably priced slide-pack within a tight budget, in order to meet a limited demand, has just been successfully completed.
EXHIBITION The Guinness Workers Fund will hold a pre-Christmas selling exhibition of work by client craftsmen in St. James's Gate Brewery on 28th, 29th November. Many leading craftsmen have been involved at an early stage in their careers with the Guinness Workers Fund. The exhibition is open to the public and could well be worth a visit.
A R T C R A F T DESIGN FAIR Mansion House, Dublin 7-11th December. The Newsletter has been advised that there has been a huge demand for stands from craftworkers all over the country. The quota for crafts has been filled and no further applications from craftworkers can be accepted. Craftworkers are welcome at the Fair and can meet with the organisers who will be delighted to talk with them about it.
Angela Forte, a young weaver who graduated from the Craft Council's Kilworth Craft Workshops earlier this year and is now in her own studio in the Pearse Street Enterprise Centre has been given a commission to make a tapestry for AnCO's head office in Baggot Street.
Craft workers in Northside Dublin 1 area are invited to contact Noelle Clery, Institute of Irish Studies, at 9 North Great Georges Street, Dublin 1, tel: 01744553 in connection with the forming of a craft co-operative. Part time teaching will be available as well as studio space. Fabrics: weaving, knitting, batik, leather, ceramics, glass, woodworking, metal working, jewellery, design.
The slide-pack, based on the exhibition "Dublin through the Eye of a Needle" was prepared with a view to providing an Irish based visual aid related to the leaving certificate Art/Craft/Design curriculum. The pack was launched by means of a subscription list, and volunteers undertook to collect names of would be subscribers attending art teachers meetings during the 1982/83 school year. When the target for the minimum viable order for slide copying was reached, the money was called in and the pack was then processed. The Crafts Council provided the necessary back up organisation to the voluntary work and looked after the administration. Thanks are due to Bord Failte for the original excellent set of slides, and to the R.D.S. for making possible the'embroidery exhibition on which the slide-pack was based.