Devon Artizan

Devon Artizan #Issue1 FREE

Celebrating local artists and craftsmen

Welcome!

My ambitious university project for the summer was to produce a magazine. I wanted to capture the creativity which is hidden within our community and celebrate local talent in one place. I was lucky enough to get a glimpse into local artists’ lives, likes and inspirations. Devon Artizan provides an insight into what the artists do and how they work. Some have only just started, some make a living from it but most of all, everyone has a talent. We need to continue supporting local artisans to keep these crafts alive. Creating Devon Artizan has been a journey of discovery and imagination. So sit down, grab a cuppa and enjoy!

Joele Forrester Editor

Editor: Joele Forrester Editorial Assistant: Julie Westlake Designer: Joele Forrester Contact: joele_forrester@hotmail.co.uk.

Find us on social media:

@ArtizanMag

@JoeleForrester www.facebook/ArtizanMag

With thanks to: All of the featured artists and craftsmen; my family and friends for their encouragement; Okehampton United Charity; Hedgerow Printing; Jessie Barstow and the local community.

The views expressed are not necessarily those of its publishers. All contents Copyright Š2014 Devon Artizan Magazine by Joele Forrester.

Printed by Hedgerow Printing.

Cover Image: Mucha 3 by Jack Smidmore.

Contents

Miriam Boy..

4

Suzi Crockford...

18

Jack Smidmore..

8

Marielle Eber...

20

Liz Baker..

10

Karen Nicol...

22

David Gundry...

12

Angharad Barlow...

24

Sharif Adams...

14

Jennie Hale...

26

6

From clockwise: measuring ring size; inspiration board; windowsill; tools; shaping a ring; melting metal

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MIRIAM BOY

Profession: Jewellery maker and designer Studio: The Square, Chagford Fact: I collect old metal tins

How did you discover your passion for jewellery making? I’ve been making jewellery for ten years now.

Shortly after moving from Germany to Chagford I fell pregnant with my second child and needed something to keep me sane. That is when I started going to various courses with teachers as I’ve always loved the idea of making jewellery.

You live in Dartmoor, does the landscape inspire you?

Nature inspires most of my work but also things like medieval doors and Bronze Age jewellery – which is simple but striking. I’m not a very sparkly person; it’s the earthy look that attracts me.

What materials do you use? Various metals ranging from silver and gold, to bronze, brass and copper. I never waste metal – I keep a box of scrap to re-use. I bought a lot of tools locally and have collected more over the years.

Do you have a clear idea of how a piece will turn out or do you work more intuitively? If I have commissions I have a piece in mind for them but when I do my own things I look at my materials and see what I can do. Happy accidents often turn out the best!

What’s the favourite piece you’ve made? A necklace I made for myself! I used solid silver, bronze and gold beads which were melted down from my first boyfriends ring, a pendant my brother gave me, my granny’s gold bangle I wouldn’t wear because of the style. It’s a lot of melted metal from various times and important people in my life. It took two weeks to make so it’s the longest time I’ve ever worked on a piece. When I wear it it is full of memories and feels special. It’s very heavy and would cost £1000 if I sold it because it has so much metal!

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How long does it take you to make a piece? Anything between two hours and up to twelve hours for the more elaborate pieces – although I tend not to do those as I’m not very patient.

How important do you think local craftsmen and artists are within the community? They show what the community can be about. Chagford is very supportive to new artists and people were lovely about my first fair in Endecott House.

What draws you to jewellery making? It is mind-blowing when you look at Egyptian or Viking jewellery. They didn’t have blow torches or fine files and they still made amazing items. No matter what culture, place or time you look at, people always adorned themselves with jewellery. It wasn’t necessary like hunting or making fires were but it’s ingrained in human culture. We have a desire to make ourselves look beautiful or different and I like that.

What does making jewellery do for you? It started off as a hobby when I was pregnant and it’s grown from there. It’s now my job! It never gets boring as no single piece is the same and I like the idea of creating something unique that will last a lifetime.

Describe your work in 3 words: Earthy, mixed-metal and contemporary. www.silverandmoor.blogspot.co.uk www.facebook.com/Silverandmoor

“I like the idea of creating something unique that will last a lifetime�

Jack Smidmore Profession: Luthier, inlay artist Workshop: At home, Okehampton Jack Smidmore has worked as a luthier (guitar maker) at Brook Guitars since 1996 where he started producing his inlays for guitar headstocks three years ago. Smidmore’s first inlay was influenced by Alphonse Mucha’s work ‘Dance.’ Current designs vary from famous musicians such as Bob Marley, to TV icons like Heisenburg, from the popular show, Breaking Bad.

The process involves inlaying material – either abalone pearl or exotic wood – into a cavity in a base wood of black ebony to make an intricate picture. It begins with drawing a design on paper to figure out exactly how to divide the image up into sections that will be replaced with wood in the final inlay.

Every piece of wood is cut out by hand using a fret saw with very fine blades. Working on such a small scale (each one is 175 X 80 X 2mm unmounted) allows Smidmore to provide the best choice of different woods and grain patterns. Each one can take up to 15 hours to complete depending on the complexity of the unique design. www.jack-smidmore.squarespace.com

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Opposite: the process of making the tiger inlay. Above: Bob Marley; Shaolin Monk. Photos by Jack Smidmore

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Liz Baker Profession: A stained-glass artist Studio: The utility room, Okehampton Fact: Collects blue rabbits which inspired her first piece (left) As a teenager Liz Baker obtained an Art Foundation from City of Bath College and in 2008 she attended six stained-glass workshops with a college friend. Whilst Baker spent a month in Spain with her injured husband following an accident during a family holiday, she decided to pursue her passion for art. She is now creating beautiful stained-glass art from her home in Okehampton. It was commissions and practice that gave Baker the confidence to fund her own hobby and reach a wider audience.

As a tactile artist, colour and the 3D form drew her to stained-glass. Designs are traditional, natural to their true form and colourful. Animals and flowers usually feature in her work but Baker would love to capture Dartmoor in glass. Each process, including pattern design, cutting glass, grinding, cleaning and soldering, can take a few hours. Art Deco and architecture have inspired her designs and she aspires to create more abstract pieces of work.

Baker finds creating art satisfying and relaxing as her day job can be stressful at times. She says: ‘the joy of seeing the end product and feeling like you’ve achieved something is wonderful.’

“Feeling like you’ve achieved something is wonderful” 01837 55230

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David Gundry 12 | Devon Artizan

Profession: Potter Workshop: Belstone What was the first piece of pottery you made? I made an ashtray at school (I’m not sure they’d allow that these days.) My teacher, a charismatic man named Don Potter, was very encouraging and taught me a lot.

Where and when did you receive the majority of your art training? Mostly at school but I also attended three night pottery classes at the John Cass Institute in London whilst I was training as a doctor. The clay was never in good condition and I made about six mugs. I worked in the Solomon Islands as a doctor for four years. I went back there on a sabbatical twenty years ago and made three resolutions – one of which was to start making pottery again. So I took up pottery whilst also working as a doctor.

Where do you source your materials? Clay from St. Agnes in Cornwall which is partly dug out of a cliff and I also mix my own from two or three powder clays. I mix the glaze myself from a recipe which took me a year to find!

Why did you choose ceramics over any other art form? The past five generations of my family has included painters who have made a living from their art. I found that whenever I looked at a picture my eye was drawn first to the pot. Pottery is a mixture of practicality, learning and aesthetics; I like the combination.

What are the processes used? There’s everything from building your kiln, mixing your clay, preparing it and wedging it. Then there’s throwing your pot. You have to dry it appropriately, turn the base, biscuit fire it and mix the glaze. Then you glaze it and load the kiln the second time. A lot!

Your craft is practical as people will use what you make again and again. What are your thoughts on this? William Morris said things can be both useful and beautiful and I agree.

You have been part of Devon Open Studios for ten years, do you think it’s important for people to see where you work rather than just buying the pot you made and putting it on a shelf? People like to visit and I like it because the product I make has a history: a past, a present, and a future. Once it leaves here I don’t know much about its future so it’s nice to meet the people who buy it. I like my pots to nourish, in the sense that when you cook and eat from them, but equally if it makes you feel good, then I think that’s nourishing as well.

Why should people visit Devon Open Studios? The process makes sense to them after visiting the workshop and seeing how things are made.

In the studio, what conditions do you need to be able to focus on your pottery? I need space, noninterruption and I tend to have Radio 4 on as I can follow stories.

Where do you sell your products? Three galleries, Devon Open Studios and I attend certain craft fairs. I don’t publicise because I just haven’t got round to it yet.

Describe your work in 3 words: Domestic stonewear pottery is what it is. I like the word pottery as its more homespun whereas ceramics make me sound more arty than I am. I’d describe it as: traditional, nourishing, Leach-inspired. (The potter Bernard Leach.)

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SHARIF ADAMS 14 | Devon Artizan

Profession: Wood craftsman Workshop: Steward Woods, Moretonhampstead Fact: I live in a 32 acre woodland on the edge of Dartmoor in a one room wooden hut with my dog and girlfriend Tell us how you got into the woodcraft business: By accident! I was studying Media Communications at university and became disillusioned by the media industry. I found my great-great-grandfather’s violin in my loft and wanted to play it but it needed repairing. I took it to a violin-maker and as soon as I walked into his workshop I was captivated. That set me on a course studying Musical Instrument Technology at London Guildhall (specialising in violin making.) Years later I discovered working with natural green wood making everyday items.

What products do you make? Bowls, plates, spoons and drinking cups.

What tools do you use? Old tools: an axe, carving knives and bowl turning hook tools which I forge myself.

Talk us through the process: I start with a tree trunk or branch. Then, I split the log, carve away the centre and roughly shape the wood with an axe.

After that I mount it on the pole lathe and go from there. If I make a spoon I finish carving with knives.

Where do you source your wood from? The sustainably managed woodland where I live and tree surgeons.

Why work with wood? I love the tactile nature of wood and how it feels. Carving fresh wood is satisfying. It’s a natural product that silently grows without a factory polluting the atmosphere.

Who and what are your inspirations? The Swedish tradition of spoon carving. They create beautiful products that get handed down through generations. Other bowl-turners such as the late George Lailey who died in 1958 and Robin Wood who helped revive the skill in the 1980’s.

Do you think it’s important to buy a locally made product rather than a mass-produced one? Yes! Ethically, it’s important to know where the product comes from. Buying locally helps keep the local economy and traditional crafts alive and leads to fewer air miles.

Is it important for people to carry on traditional techniques? Yes, there’s a resurgence in crafts at the moment. We have lost touch with working with our hands. I enjoy woodcraft as it’s immediate and gives a purpose to what I do.

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Previous page, from clockwise: finished bowls; turning a bowl on the lathe; finishing touches; splitting the wood. Below: turning a bowl on the pole lathe

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What challenges do you face when working with wood? As you’re working with what nature’s provided, you never know until you split a log open how it’s going to look inside. It might be rotten or the grain directions aren’t right so I can’t use it. Trying new techniques can be tricky but mistakes can be great learning tools.

You host workshops, what do they allow people to do? Why do you enjoy it? There are very few people in the world who turn bowls on a pole lathe and I like to feel that I’m part of a process that revives people’s interest in the craft. It has a lot to offer physically, mentally and brings you into the present moment – which is good emotionally. I normally host one spoon carving course per month.

What does your craft do for you? Keeps me sane! It keeps me connected with the woodlands and the natural world around me which enriches my life.

“Buying locally helps keep the traditional crafts alive” www.facebook.com/SharifAdams WoodCraftsman www.sharifadams.co.uk

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This page: complete drums. Opposite: the deer skin in lye solution; wrapping fabric around the metal hoop

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Suzi Crockford Profession: Drum maker, shamanic teacher Workshop: Kitchen or garden, Lustleigh Fact: Suzi’s ancestors are in the book Lorna Doone as the giggling snow sisters.

Where did you learn to make drums? I was interested in the idea and wanted to learn more about it so I attended a one-day workshop with Caroline Hillier. Following that, a friend put a lot of pressure on me to make them a drum so I had to go for it! I’ve been making drums for ten years now.

Tell us about the process of drum-making: Firstly, I buy the deer skin and if I’m going to store it, I salt it. If I use it straight away I will clean the skin and soak it in a lye solution which is a strong alkaline that causes the cellular structure of the skin to expand and so the hair falls out. This process can take between 4-10 days depending on the strength of the lye solution, the thickness of the skin and how warm the weather is. I then scrape the hair off, rinse it in acidic water and soak it for a couple of days. I wrap fabric around the metal hoop to stop it from rusting. To get a perfect edge for the skin to lie against, I sand the wooden hoop. I cut the skin into a circle, punch holes then lace between these holes and the metal hoop. I pull the skin tight in three stages and test to see if the drum has resonance.

A drum has a massive history, tell us a bit about it: As a shamanic healer, I contact the spirits with the drum. It’s been proved by science that our brain changes to a state between wakefulness and sleep when a drum is played at a certain frequency. It has been called the ‘shamanic state of conscious.’ Combine the shamanic state with clear intention and you can journey to the beat of a drum. Mankind has been doing this for thousands of years.

If you could collaborate with any artist, who would it be? I’m blessed to work with my artist husband Fergus, whose creativity compliments mine. I would love Rima Staines to paint one of my drums – although if she did, I could never part with it!

Do you think drums have a relevance in today’s society? Massively. There is most definitely a continuing re-awakening of interest in the spiritual in the West. Despite the world of the internet, more people are searching for a real and authentic connection with spirituality. Also, more people are discovering the importance of community. A drum (or many) acts as a community access point – like a fire – light a fire, play drums and bam, you have a connection.

It’s beyond language, cultural division, social hierarchy, and is therefore unifying. Anybody can play a drum! www.dartmoordrums.co.uk www.facebook.com/dartmoordrums

Marielle Ebner Profession: Printmaker Workshop: Spare bedroom, Taw Green Marielle Ebner’s passion for printing began during her Art Foundation and Fine Art degree. Ebner then spent time volunteering in India and made Switzerland her home for ten years, returning to England to raise a family. A friend persuaded her to try out a retired art teacher’s printing press. This inspired Ebner to re-ignite her love of printing. She’s always enjoyed the combination of imagination and drawing the art form involves so she set up a workshop in a spare bedroom five years ago and started selling her work.

Monoprinting is the technique Ebner favours which results in just one original piece. You can’t guarantee how it will turn out so there’s always an element of surprise when the final result is revealed! Collagraphy is a process Ebner uses to produce small edition prints.

This involves placing different textures onto a card plate and applying ink with a roller or brush and then putting it through the press (pictured.) Having grown up next to a farm in Wales, her subject matter is inspired by nature and her current Dartmoor surroundings.

Her style captures the essence of the animal using paint and charcoal. She loves experimenting with textures, marks and gestures in the medium.

Advice for keeping creative? ‘Keep your eyes open and look at other art. Feed off other artists as being together inspires new ideas. Update your skills (I attended a Double Elephant workshop in Exeter),’ she says. Ebner is in her fourth year of Devon Open studios and says it gives her a deadline to work towards and a chance to receive feedback. For Ebner, the best thing about creating art is the sense of accomplishment when things go well: ‘It keeps me thinking and imagining.’ www.marielleebner-rijke.co.uk

“There’s always an element of surprise when the final result is revealed!”

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From clockwise: rolling high-quality ink; tools; horse monoprint; printing press.

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From top: current design in embroidery hoop; free-hand embroidery; business cards

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Karen Nicol Profession: Textile artist Studio: The Loft, Lydford Having started her textile art business this year, Karen Nicol has managed to combine her two loves of photography and sewing.

Since the age of five, sewing has always been a passion. The starting point for each piece uses photographs and sketches followed by free-hand machine embroidery to create contemporary and intricate designs. Inspirations come from her much-loved whippets, wild flowers and hedgerows. Her style is distinctive and fresh. ‘Dogs are graceful and beautiful creatures that I want to capture in more than just a photo,’ says Nicol referring to the favourite subject of her work. For Nicol, art is fulfilling and relaxing – although she has to concentrate hard to get it right: ‘It’s like sketching with a sewing machine, so you mustn’t get it wrong.’ Advice for emerging artists? ‘Show it to as many people as you can to get feedback.’

“It’s like sketching with a sewing machine” Facebook: Karen Nicol Textile Artist

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Angharad Barlow Profession: Textile artist and designer Studio: The Square, Chagford Fact: I learnt how to fly a helicopter in New Zealand.

Tell us a bit about your career: I grew up in Chagford and left aged seventeen to go sailing. I then attended London College of Fashion to complete a BA Hons of Costume. I’ve worked in film, TV and theatre where I made the hyena costumes for The Lion King production. My work always involves a person or a body – whether a puppeteer or a performer. I’ve also worked with a company in Croydon creating costumes for various productions. I returned to Chagford eight years ago after travelling and started my own children’s clothing business. I wanted to do more as an artist so I moved to my current studio two years ago to expand my product range.

Your business is called Atelier Bee, what is it that attracts you to bees? They are essential creatures! There’s lots of mythical aspects to the bee and the Goddess clothing project I’m working on at the moment explores the different archetypes of women. Each piece of clothing in the collection represents a different stage of womanhood and the bee relates to that in many ways.

What techniques are involved with your work? Most of it is freehand machine embroidery. I use hand-stitching, needle felting and dying depending on what’s required.

Explain the value of domestic clothing and why you choose to still make it: There’s a rich history of the apron. They’ve always had a practical purpose and in stories are often magical. In our culture, the apron is thought of as feminine but in the past, men who wore aprons were considered part of an honourable trade such as, forgery and carpentry. The gypsy aprons (Joddakai) would be heavily decorated because they put all their wealth onto their apron. In some tribes they wear a particular apron to denote who they are and where they belong. At the moment I’m making the Heritage Apron (pictured) which has pieces of fabric from every era. I like the concept of passing a garment from mother to daughter and the aspect of what’s imbued in the cloth.

Where do you source your materials? I collect from markets, vintage shops and people often give me material. I look for vintage material as the quality is better than today’s cloth.

Who inspires you? The amazing Vivienne Westwood and theatrical Alexander McQueen!

What would you most like to make that you haven’t made already?

I’d love to make a massive wedding gown!

“I like the concept of passing a garment from mother to daughter” www.atelierbee.typepad.com

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From clockwise: sketchbook; bee cushion design; Joddakai apron (photo by Angharad)

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Jennie Hale Profession: Artist, ceramicist Workshop: Longham Studio, Coryton Fact: I was part of a mountain rescue team for 10 years

Where did your passion start for making pottery and art? At school in Kingsbridge. I then went to Loughborough University to study ceramics.

Has your work progressed since you started? I started selling my work in galleries whilst at college. Following my degree I worked as an assistant to Marianne de-Trey, C.B.E. and learnt a lot from her. Up until 1987 I only made raku and large sculptures, then decided my drawings were really important to me. I now also produce earthenware so I can paint directly onto my pottery.

I have kept illustrated nature diaries for the past thirty years. In 2007, A&C Black published ‘The Nature Diary of an Artist’ which is compiled from these diaries.

“It’s important to learn about the planet and it’s enjoyable through art” You have been running Workshop under the Sky for twelve years, tell us what it’s about? Good fun! It’s suitable for all ages and abilities. We use scientific methods to identify animals, followed by recording our findings through observational drawing. The workshop participants draw from life as I believe you learn more about the individual animal; I find drawing from photographs boring. The team works with schools, clubs and individuals. It’s an exciting learning process in a relaxed environment where everyone feels a sense of achievement. Everyone shares their knowledge and the kids often teach the parents so it’s nice to work that way round.

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How did you come up with the idea? When my children were at school, the teachers asked if I could help out. I didn’t want to teach in the classroom, so I took the kids out into the fields and drew nature diaries with them.

Observational drawing is a vital learning tool. I thought if we could find a yurt, scientists to work with us and get funding for art equipment, we could make it happen.

Do you think it’s important for artists to connect with nature on that level? I like to connect with nature because I want to understand it. It’s important to learn about the planet and it’s enjoyable through art.

Do you feel it’s important to keep a diary? I prefer drawing from life. They’re good to refer back to and I enjoy it. I see my nature diaries as one continuing piece.

If you could give advice to new artists in the area, what would it be? I believe there is a dialogue in my head all the time of what I want to say and do. I want people to engage with my dialogue. If you’re just creating things to look pretty the audience won’t connect as much with your art. I like people to imagine I’ve seen the things I’ve made – as though I’m capturing snippets of time.

www.jenniehale.co.uk

Opposite: pots inspired by nature Below: jugs painted using watercolour techniques

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