Collections

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Collections Winter 2017 - Autumn 2018

by Teodora Bankovska

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ARTICLE is a culture magazine which shares stories of dedication about Scottish artists and makers. It is issued quarterly and each edition captures the current season through a leading theme. The items in the magazine’s showroom are curated, collected and considered according to the theme.

CONTENTS

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The Reflections Issue

Takes time to reflect, weigh things up The Changes Issue

Explores transformative moments and celebrates all things natural

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The Colours Issue

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Enters the realms of colour and printing The Form Issue

Discusses the subjects of form, texture and movement

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WELCOME to the Reflections issue As 2017 comes to a close, it seemed right to take stock and reflect, weigh things up. During this cozy and festive season we also take time to admire crafts.

The winter edition of ARTICLE offers conversations with Elin Isaksson whose work explores the effects of light, texture and movement. She has found glass the most expressive material for this ongoing interest.

In exclusive conversations, we reveal the inspirations behind the works of jewellers Stacy Carmichael and Emma Louise Wilson. We also visit Cally Booker in her studio in Dundee. We speak with the Glasgwegian ceramics artist Eleanor Caie and present the work of Mary Morrison, who explores the sense of space and light in her paintings. Jo Macfarlane, an artisan candle maker, takes us on a journey through the sense of smell.

Under the spotlight in this issue is also the art of the creatives from the ARTICLE’s workshops.

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Elin Isaksson originally from Sweden is a graduate from Edinburgh College of Art with an MA in Design & Applied Arts.

She began her glass blowing training at the famous Orrefors Glass School in Sweden learning traditional Swedish glass making techniques. Further education includes apprenticeships in Sweden, France and Italy.

Inspiration Elin’s inspiration comes from the play of light, texture and movement in nature and she aims to capture a sense of place, a small detail or an atmosphere rather than reproduce a direct likeness of an object or form.

Her ideas often develop after travelling back to North of Sweden or along the coast of Scotland taking endless of photographs as muse. Elin mainly uses the glassblowing technique to achieve her elegant and tactile simple forms in subtle colour blends. She often finishes of a piece stretching it long and thin or bending it to keep a sense of movement, to capture the intense energy when working with molten glass.

In her cast glass she is intrigued by rough textures in contrast to very smooth tactile surfaces created when pouring hot glass into one off sand moulds. The solid sculptures contains layers of hand blown shards and stringers to create depth and layers to the mostly clear pieces.

Elin Isaksson’s work reveals delicate, intricate forms with an inner toughness

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PLAY of LIGHT Words and Photograph : Elin Isaksson; https://www.elinisaksson.com/ Editorial: ARTICLE

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‘I did a foundation art course a long time ago in Sweden – that’s where I’m from originally. I studied everything: watercolour painting, oil painting, photography, ceramics. I tried glass painting too, which was fun but didn’t feel very creative since the glass itself was bought in. I started to look at how I could make my own forms and found a place where you could learn how to blow glass. I applied to Orrefors Glass School, in the south of Sweden, and I was hooked straight away. I quickly forgot about the painting part of it. It’s a very craft-based school – it was purely about learning how to blow glass. Working with a molten material is really exciting. It takes just minutes to make something – once you’ve learnt the basics, which can take years. It’s a very difficult skill but if you can master it, it’s really rewarding. It’s just an amazing material. It’s like nothing else. After the course, I applied for apprenticeships, working in studios, working on stemware – wine glasses, champagne glasses. It was good experience and showed me what you could do, working in hot glass. I realised that if you are making small, delicate things, you don’t need huge premises. I also realised that it’s not so much fun assisting others! I wanted to do my own thing so I decided to do a design degree in glass to find my own way of designing things. I applied to Edinburgh College of Art, even though I’d never been to Britain before. It was very different: the school I’d been at in the south of Sweden had been very isolated – a small village community of just 200 people. There are

‘I want people to touch the pieces I make. I enjoy making delicate things but because it is hand-blown, it’s actually quite sturdy’. only two design schools in Sweden and they are very difficult to get in to. Most people do foundation courses first, so they tend to be around 25 before they go there. I suppose I felt quite old going to ECA at 24. That was in 2001. I found it quite difficult to adjust to thinking about the theory behind the practice, going from making things every day to thinking, “Why am I making it?”, “What should I be making in the future?”, “What will my path be?” It’s a good feeling, though, working out what sort of artist you are going to be, and I think it’s important to do both the craft-based study and the design. I did a BA, then an MA and then I was artist-in-residence at ECA between 2006 and 2008. Then I set up my own business in Stirling. There’s definitely a Scandinavian influence still there in my work. I tend to do very simple, tactile forms. I want people to touch the pieces I make. I enjoy making delicate things but because it is handblown, it’s actually quite sturdy. Glass is a very hard material. I like to blend colours so that they’re not too harsh. It’s a bit like watercolour painting, where you blend and shift colours; I use that sort of technique. A white opaque powder acts as the base and I

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use transparent colour on top of that.

This pushes the powder away and leaves a watercolour effect. I run courses from my workshop and I find that this is a chance for people to understand what goes into what I do. They can see how expensive it is – the equipment that’s needed, the space for the machinery. It gives them more of an appreciation. They can see it’s not just a hobby. My day tends to start with a late night! If I’m blowing glass, I start the night before by charging the furnace, turning the kiln off and letting it cool and then turning up the furnace. I’ll put in the colour that I’m

using that day. Even if you’ve been blowing glass for a long time, you have good days and bad. Timings go wrong, things fall on the floor… Sometimes I’ll have to change what I’m doing, depending on the weather.

Sometimes it’s not physically possible. If it’s 25ºC outside and 50ºC in the studio, in front of the furnace it’s 1600ºC. It’s very demanding.’

Liquid Ice Bowl: Elin Isaksson; https://www.elinisaksson.com/

Interview: Catherine Coyle in issue 104, Homes and Interiors, Scotland

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Cylinder Vase: Elin Isaksson; https://www.elinisaksson.com/

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Oval Rock Pool: Elin Isaksson; https://www.elinisaksson.com/

‘There’s definitely a Scandinavian influence still there in my work. I tend to do very simple, tactile forms’.

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STACY CARMICHAEL Growing up, I was a creative child, equally happy outdoors exploring the forests behind my house, or indoors immersed in some creative venture. I pursued my dream of being a biologist from an early age, and obtained degrees in both Vertebrate Zoology and Biogeography. After 20 years of working in the physical sciences and international development, I felt it was time to make a career change and combine my academic background with my creative nature.

I’ve spent much of my life outdoors, playing as a child and chasing birds through the forests as part of my work as a biologist; this fascination with nature has continued throughout my life. My work is heavily influenced by my love of all things green, colourful gemstones, found objects, and the contours of nature. I’m currently finding inspiration in the rough and craggy appearance of raw gemstones and the unpredictable properties of silver when it is reticulated. As a result, my work is taking on a more organic and rustic quality.

In my jewellery I use responsibly sourced gemstones, found objects such as sea glass, and recycled metals as much as possible. The finished pieces are then packaged in recycled materials. This approach to my work is reflective of my journey as a Buddhist.

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CONTOURS of

NATURE

Words and Photographs: Stacy Carmichael; https://www.stacycarmichaeljewellery.com/ Editorial: ARTICLE

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LIGHT through ENAMEL

Words and Photographs: Emma Louise Wilson; http://www.emmalouisewilson.com Editorial: ARTICLE

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EMMA LOUISE WILSON I make vitreous enamel and silver jewellery, keeping the designs as simple and minimal as possible to let the beauty of the enamel take centre stage. The jewellery I make is the jewellery I like to wear, simple and elegant easy to wear pieces for everyday with the odd statement piece thrown in for special occasions.

Vitreous enamel has a gorgeous quality to it.

It's basically ground glass which is fused to the metal in a very hot kiln. The glass powder melts, flows then hardens to a smooth glossy surface when removed from the kiln and cooled. Like glass, the light will shine through the transparent enamels and reflect off opaque enamel. The colours I mostly use are the colours I see all around me in the sky and sea around Scotland, muted neutral tones of blues, greys and greens.

18 Words and Photographs: Cally Booker; https://callybooker.co.uk Editorial: ARTICLE

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ILLUMINATING DUNDEE’S

CITYSCAPE “This silk evening wrap is inspired by the sight of my home city as night falls.

Dundee sits on the north bank of the Firth of Tay on the east coast of Scotland and the main approach from the south is over one of the two Tay bridges, giving the homecoming traveller a beautiful view of the city lights reflected in the water”.

- CALLY BOOKER

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Cally Booker is a handweaver, textile designer, writer and teacher. Weaving is a craft which can be meticulously planned or improvised at the loom, and a combination of these approaches appeals to the different parts of my nature.

In both my exhibition pieces and my micro collections of accessories and homewares, I make extensive use of multi-layered warps.

The interplay of different layers of colour gives my work its distinctive appeal.

Much of my inspiration comes from the cityscape of Dundee, from the grandeur of its waterfront setting to the small details of quirky buildings and everyday living.

A recent development in my work has been to draw on my interest in social and environmental data, and data about Scotland in particular. These data describe patterns which underlie our daily experience but are often difficult to see. Incorporated into weave, the finished work offers an alternative geography that, like the statistical data it draws from, is abstracted beyond recognition.

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CERAMICS BRING

that

LIGHT

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Eleanor Caie designs and makes ceramics in Glasgow Ceramics Studio at The Wasps Factory, Glasgow. She fell in love with clay in Denmark whilst at primary school, and the drive to make things out of what is essentially mud has never stopped. The work that Eleanor creates brings, light, nature and inspiration into a space that warms the heart and brings joy to all who see it. Eleanor designs and produces her own ceramics ranging from one off jewellery pieces to large inspired sculptures.

Each piece is completely unique, a variety of techniques employed and use of light is continually explored. You can find Eleanor's work in galleries throughout the UK and at craft and ceramics events.

"I design and produce my own ceramics and currently work out of the WASPS studios in Glasgow, Scotland. Each piece is hand made and finished and is therefore unique. I like to create tactile pieces with a combination of textures including dry matt effects, contrasting enamels glossy and abstract glazes, and I use a range of finishes to bring out the individual characteristics of the design. My favourite techniques include pinching, slab building, layering, and tearing, and many pieces feature a combination of these to achieve a particular look or style. I am fascinated with the diversity of clay and draw inspiration from the disharmony between nature and the built environment. I often use leaves or fabric to create decorative functional vessels, which may be offset by more formal lines or darker colouring."

- ELEANOR CAIE

Words and Photographs: Eleanor Caie; https://www.waspsstudios.org.uk/creatives/eleanor-caie/ Editorial: ARTICLE

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SENSE of

SPACE Mary Morrison explores a ‘geography of the mind’

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Mary Morrison grew up in the Western Isles, she is drawn to exploring a sense of space and light which is particular to these islands.

Aiming to combine a sense of place in the work with notation – variously suggesting mapping, measuring, music. Grid references, staves and tide tables recur in the work.

Where works have titles referring to specific locations, the intention is to draw on personal connections to these places in order to explore wider themes. Mary’s intention is not to render the topography of a landscape but rather to explore the relationship between the individual and the landscape that has shaped them, something you carry with you – a ‘geography of the mind’.

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Tell us what got you into art – how you got started – what first excited you.

What are your main influences and sources of inspiration?

I grew up on the island of Scalpay and my main inspiration early on was my mother – trained as a nurse, she drew and painted throughout my childhood. In primary school we had an art teacher – Liz MacLean – who came over on the ferry once a week, and the art room was just a really special experience and environment, unlike anywhere else in the school, and I loved that.

Following on from this, my secondary school art teachers – Willie Fulton and Gordon Patterson – had a really positive influence, and I think that’s what led me to go to art school.

Currently – I guess I’m trying to ‘map an identity’ in much of my work, and this is connected with where I grew up. The written word is often a starting point for imagery – poetry in particular. I find the work of Kenneth White and the Sufi poet Rumi for example, very inspiring, though the connection with the visual image can often be quite tangential. Materials are very important to me too, the tactile nature of paint, surface, onto which I draw elements of notation.

Where do you make your work?

In WASPS Studios in Selkirk – there are 13 artists based in this former textile mill.

Having the space at WASPS has been really important to me and the development of my work. The studios are semi open-plan and although we all work very differently, there is a lot of peer exchange and support and we work together on studio events.

Is there some piece of advice / information / knowledge that you’d like to share?

Sometimes when you’re not sure what’s going on, that’s often when the best work comes! I think it’s about relinquishing a more conscious control, and being open to where things take you.

Interview with Mary Morrison, SSA, http://www.s-s-a.org/ssa-featured-artist-mary-morrison/

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Words and Photographs: Jo Macfarlane; https://www.jomacfarlane.com Editorial: ARTICLE

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CANDLE SCENTED

MEMORIES

JO MACFARLANE I am a lifelong artist and creative with an insatiable appetite for learning. I am a candle maker who in turn runs candle school workshops. To give people a new memory in a scent and to empower everyone to learn new skill.

The sense of smell is the only sense that travels through the Limbic part of the brain.

When you smell something that you have had a memory with, smelling it again can evoke that feeling in an instant. So being able to capture that scent in a bespoke luxury candle means you can take the memory new or old, home with you.

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WELCOME to the Changes issue The Changes Issue explores and celebrates pivotal and transformative moments. In the age of the instant online fix, time is the ultimate luxury. The spring edition is dedicated to those who take time to do things the right way - whether it is Kimberley Scott, whose passion for all things natural, led her to craft and brighten up life in her florist studio, or Laura Cooke who preserves the Scottish nature through her delicate jewellery pieces.

In exclusive conversations, we reveal the inspiration behind the work of jeweller Rhona McCallum and take time to appreciate the concept of Slow Living with designer Cathrine Johnson. Through the work of Christopher Viviani, we discover the individuality and uniqueness of the handcrafted ceramics. Lisa McWall takes us on a journey to India with her knotty cotton macramĂŠ art.

The artist Belinda Bullen reveals the calm coastal beauty of her native Scotland. Fionna Ritchie brings scented moments to the everyday with her luxurious natural products with a Scottish twist.

Under the spotlight in this issue is also the art of the creatives from the ARTICLE’s workshops.

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OF ALL THINGS

NATURAL

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Little Botanica was established in 2008 as a small wedding florist based in a rather cold workshop unit in Cambuslang. It has been driven by a passion and love of all things natural, a desire to create beautiful flowers and to craft and brighten up life with colour and texture.

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Words and Photographs: Little Botanica; https://www.littlebotanica.com/ Editorial: ARTICLE

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KIMBERLY SCOTT Creative optimist, flower fanatic, bee lover and workaholic Kimberly is the owner and creative optimist of Little Botanica. She is a lover of all things natural and is often found wandering up country lanes or strolling ancient woodland with camera in hand! A natural flair with gorgeous blooms and a laidback style, Kim has an eye for detail and can be a bit of a perfectionist when it comes to her work.

Little Botanica is a part of her heart. She also has a thing for trees‌.

HAYLEY THOMSON Sunshine loving, tea drinking, travel enthusiast with a passion for design Partner at Little Botanica with an architectural background Hayley has an eye for detail. Combining her love of the great outdoors with the built environment brings a unique style to all of her work. Hayley loves nothing more than being inspired, creating and experimenting with new ideas.

The answer is always yes!

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BOTANIC ISLES

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Botanic Isles is a small Scottish jewellery business ran by Laura and Paul - two Scottish fine art students with an above average interest in nature and preserving it.

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The seed of an idea...

Growing up in Scotland and having spent my life here, I have surrounded myself with the wonders and diversity of Scottish nature and felt the contentment and happiness it brings. From a young age I would pick wildflowers and keep them, only to notice that they would not stay in their original form, often decaying and disintegrating. As I grew older I began experimenting with ways of preserving the little treasures I would find.

I tried pressing flowers in books, putting fresh flowers in tiny vases with a little sugar water, keeping seeds and pinecones in airtight Tupperware boxes. Eventually, each little botanical element would rot away and I would loose that memory.

In 2016 I discovered resin as a tool for preserving flowers and with much trial and error I have developed my own ways of working. We use resin which is kinder to the environment as well as being non toxic once dry to animals and humans. Each and every botanical element is hand picked and hand pressed by me in order to maintain its original vibrancy and is picked directly from Scottish soil and is pressed immediately.

Needless to say I keep a pocket flower press with me everywhere I go. Each and every item has a description of where it was picked and when it was pressed, so you have the knowledge of exactly where in Scotland your botanical element came from. Each finished resin piece takes between 5-14 days to make.

It is truly a labour of love and we put our very all into each and every piece.

- Laura Cooke

39 Words and Photographs: Botanic Isles; https://www.etsy.com/uk/shop/BotanicIsles Editorial: ARTICLE

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NATURAL

FORCES Inspired by geology, ancient history and our changing landscapes, Rhona McCallum creates statement collections of silver and gold jewellery that combine rugged, natural textures with bold, sculptural forms. Forged and carved lines run through the pieces, accentuated by flashes of gold, referencing geological fractures and lines and layers in stone.

Rhona’s award winning jewellery is made by hand in her studio in Glasgow, Scotland, and has been exhibited around the world, including the prestigious Goldsmiths’ Fair in London, and New York’s Museum of Arts and Design. In 2017 she was a finalist for Young Jewellery Designer of the Year at the Professional Jeweller Awards in London.

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‘I am fascinated with how our landscape has formed and changed over time, both as a result of natural geological forces and by the impact of humans’.

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SLOW

LIVING Object Company was founded in 2014 by designer Catherine Johnston. The concept arose from a desire to develop traditional skills in woodwork, metal and ceramics, and to apply these in a practical and design-led manner.

Woodwork has become the primary medium in Catherine's practice, but she intends to incorporate ceramic and metal designs into her every changing collection during 2018.

Each item is unique, and created in small batches, dependant on available materials.

All materials are either locally, sustainably and ethically sourced, or recycled.

Longevity, durability, design and sustainability are key focus areas, and they will continue to inform the project over time.

Each piece is cut out, shaped and finished by hand. Every item is unique, allowing for creative freedom and an ability to respond appropriately to the chosen material. This lack of restriction allows for a heightened appreciation of the tools and processes.

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The industrial era has allowed itself to take life away from the objects that accompany us on a daily basis. Made in series, our knives and glasses are similar, all born from the same Swedish mother. Plastic has lost its soul, yet it haunts our homes. Based on the promise that life can flourish only in the company of living materials, and in a room as fundamental as cooking, Catherine Johnston aka Object Company designs chopping boards and spoons out of wood from Scottish forests.

Interestingly, only trees that are sick or damaged by a storm are used to produce the utensils. This respectful use of our resources allows sustainable production and prohibits any depletion of our wealth. Mother Nature gives us the beak and allows her offspring to reincarnate in our kitchens. So, let's give a hand to a branch, savour plum jam in the hollow of his loins and prepare a boot of new turnips on his back. Object Company utensils become our room mates and maintain the sometimes tenuous connection we have with the living.

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What is the concept behind Object Company?

Does making dishes help to share the lives of those who use them?

I am interested in durable and functional objects. Each of them is imagined in respect of the fiber and the properties of the material then created from locally grown wood. Each piece is shaped, carved, sanded and finished by hand, using mainly hand tools and traditional woodworking techniques.

I hope that the irregular and unique pieces I make create a haven of peace, where people can more easily interact and share.

What are your current projects?

Currently my work is based on collaborations, continuous experimentations and the widening of my knowledge around the material with which I work.

Is the art of the table the cross between intimacy and outside?

Using these handmade pieces allows you to maintain a link with both the manufacturer and the material from which it is made.

Wooden utensils are the bridge to a slower, conscious, and sustainable existence.

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Does the handmade replace man in the center of the world?

The possibility of going back to the origins of the object gives the user an incredible sense of pride, an inexhaustible subject of conversation and an interest in the manufacturing process implemented.

Handmade objects invoke discussions and stories; they allow know-how and techniques to be further enhanced.

Does making objects from natural materials help to reconcile with nature?

It is a satisfaction difficult to evaluate. Each piece refers us to the raw material with which it was made. The use of wood in our interiors is a gentle sting reminder of the wild and natural world around us. The soothing nature of wood, in particular, provides a sense of peace, inconceivable with metal utensils.

Does the meal ritual accompanied by wooden tableware demonstrate the need to take time and take care of yourself?

The pleasure provided by a careful selection and the precious choice of handmade items certainly becomes a ritual. The slow living stems from a better appreciation of the values ​​and processes involved in the creation of design in our homes.

Are we back in the era of "being at home"?

Observing the space in which we live is a key step towards a slower, more relaxed existence. Each of the selected pieces contributes greatly to our overall well-being.

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Words: Julie ThiĂŠbault Photographs: Greig Jackson; http://www.magazine-mint.fr/object-company/ Editorial: ARTICLE

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CELEBRATING

INDIVIDUALITY & UNIQUENESS ‘Each stand out piece is made and finished carefully by hand from the best ethically sourced materials. My wooden and ceramic ware is a step away from the mundane and lifeless mass produced ware and is a celebration of individuality and uniqueness.

Trained as a Sculptor and inspired by nature, bushcraft and food. I’m constantly thinking about how the right piece of kitchenware

can change your relationship with food and increase your pleasure of eating. Whether it's a mug that fits your hand perfectly, a favoured bowl to eat your morning cereal from, or something for your home, I know you'll find something here that helps you stand out every day’.

- Clod & Pebble

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Christopher Viviani is the maker behind Clod & Pebble and his ever growing collection of handcrafted ceramic & wooden ware is a celebration of individuality and uniqueness. Relocating his studio to the beautiful Ayrshire countryside where he grew up, Christopher is continuing to produce a unique collection of ceramic and wooden pieces.

Often we hear people talk about feeling unsatisfied with their job but it takes real courage, hard work and talent to walk away and turn your passion into your day job.

It is obvious looking at the work of Christopher Viviani, that he is naturally talented and with a degree in Sculpture, maybe it was only a matter of time before he decided to return to making once again.

Thank goodness he had the courage and determination to make the change as his wooden and ceramic ware is certainly unique and each handmade piece holds the mark of individuality he is striving for in his work.

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How did you get to where you are today?

I started Clod & Pebble in 2014. It came about after a series of unsatisfying jobs where I was sat in front of a computer all day. It got to the stage where I’d just had enough of it. I come from a Sculpture background and I missed making things with my hands and having something tangible at the end of the day.

Things started off quite small. I would watch YouTube of craft people at work, mainly bushcraft videos, then woodturning videos, glass blowing, axe making, hand built ceramics, wheel thrown ceramics, etc.

The clay videos were something that really grabbed me. I’ve always found clay to be a tricky material to work with, but something that was quite easily accessible. I started by buying bags of clay and coil building pots as a hobby. I would then transport them to my parent’s farm in Ayrshire.

I tried different methods of firing there. I just loved the process of playing around, trying to understand the material and how far you could push it. I really enjoyed this experimentation.

Where are you based & why?

My girlfriend and I are currently living in Darvel, Ayrshire. My workshop is in Craigie, about 12 miles away. It’s where I grew up at my mum and dad’s farm. I have a lot of space and freedom to work. Kim and I were living in Edinburgh for the past 10 years or so and we just moved back around 6 months ago.

It’s quite a different pace, but it’s allowed me to focus on work more.

What are you currently working on?

I’ve got lots on the go just now. I’m working on reorganising my workspaces, restocking and working on dinnerware ranges, experimenting with new glazes & clays, the odd bit of metal work.

Can you describe a typical working day for you?

Generally the day will be filled with packing orders, answering emails, replenishing stock in the potters wheel, trimming, glazing, unloading the kiln, or doing some woodturning or if the weathers good I’ll be recycling clay by hand outside for a large portion of time.

Words: Christopher Viviani and Such&Such, http://www.suchandsuch.co/our-makers/clod-pebble/ Photographs: Kimberley Brand Editorial: ARTICLE

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Words and Photographs: Lisa McWatt, http://www.knottyknotty.co.uk/ Editorial: ARTICLE

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WAVY

KNOTS

‘My wall hangings are usually made with natural cotton and driftwood found on a nearby beach. I love the natural feel of the cotton and the addition of driftwood makes every piece unique’.

During visits to India I often watched travellers making and selling jewellery made with knots and stones. When I came across a Tibetan refugee woman in MacLeod Ganj who taught this technique I jumped at the chance of learning something new. I didn't realise at the time that what I was learning was actually called micro-macramé, macrame being the art of knot tying, as my experience of macramé as a child in the 70's was large owls and plant hangers. So home I came with a pocket full of stones and I haven't stopped tying knots around them since.

My interest in Macramé developed into large scale pieces for the home and I enjoy bringing the old original styles that I grew up with up to date.

- Lisa McWatt

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‘Over to Tullybothy Craigs', etching, woodcut and collagraph, 100 x 78 cm.

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TOWARDS

ANGUS

Belinda Bullen was born and grew up in the Kingdom of Fife. Her work synthesises the light of her native Scotland to create series of images in oil, print and mixed media.

Belinda was a post-graduate student at the Royal Academy Schools and has exhibited extensively in Europe and Australia. She has sold privately and corporately throughout the world.

Her landscapes reflect her surroundings; the space, the way the boundaries of land, sea and sky interact, and the vibrancy of the light. Situated as she is in the East Neuk she is surrounded by sea on three sides. She gravitates to the intersection of land and sky, lit up by the special light reflecting from the sea.

Image: Belinda Bullen Words: Belinda Bullen, http://www.belindabullen.co.uk/info.html

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NATURAL PRODUCTS with a

SCOTTISH TWIST

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From the beautiful Ochil Hills in the heart of Scotland comes an innovative new skincare and gift range; luxurious, natural products with a distinctively Scottish twist.

Siabann – which is Gaelic for soap – is a new venture from Fiona Ritchie, founder of the Ochil Soap Company, known for its fabulous little bars of hand-made marbled and scented Scottish soap.

We were inspired to launch the Siabann range by our love of a little luxury and our passion for the properties and goodness of natural oils and butters.

Fiona has created an exquisitely packaged, beautifully scented, entirely natural and affordable collection of creams, serums, moisturisers and soap. The secret ingredient in all of them is Thistle Oil, known for its therapeutic rebalancing properties.

Each of the products evokes the beautiful Scottish landscape that has inspired her range, and is hand-blended in small batches to ensure the highest quality. The products are fragranced with a blend of essential oils and are tested – as Fiona is quick to point out – on family and friends, never animals.

All are vegan friendly.

Photographs: Siabann Words: Siabann, https://www.siabann.com/about-us.html

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WELCOME to the Colours issue What does it look like when ARTICLE enters the realms of colours? Let us take you on a trip through layered hues, shades and tones to discover and appreciate arts, craft and different printing techniques.

Our summer issue is the antidote to every monochrome living, as we have searched high and low to find contributors with the power to make us appreciate the world anew. We have got exclusive discussions with colour experts, including jeweller Evgenia Balashova, textile designer Laura Spring and the founder of Risotto, Gabriella Marcella.

Kate Trouw presents her jewellery collection Loop, inspired by the natural colours and shapes of the coastal landscape of Fife and Jude Gove pleases the senses with her unique handcrafted genuine leather accessories.

Emma McDowall presents her playful multicoloured cast concrete art objects.

In a conversation with Grace Woodcock we discover her paintings, which playfully negotiate the tension between the digital and the analogue. Ashley, the aromatherapist behind Glasgow Soap Company, takes us on a multicoloured journey through the sense of smell.

Under the spotlight in this issue is also the art of the creatives from the ARTICLE’s workshops.

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BALANCING

ACTIVE

and

STATIC

Life of a 3d printed object starts from making of a visual model created in 3d modelling software like Rhinoceros. The properties and characteristics of a model are then carefully checked for flaws to make sure it is suitable for the specifications of the printer. Once the printed has received the model, is applies multiple layers of nylon powder to build the object up layer by layer.

Final result is a strong, light and hardwearing object which can be dyed, spray painted and assembeled into a piece of jewellery.

3D printing allows me to create large scale pieces in a controlled and precise way, while still being able to add an element of distortion without ruining the object's geometric perfection.

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The focus of my work lays in the exploration of repetition, movement and manipulation of grids in combination with reiteration of geometrical form. The inspiration for my work originates from office spaces and the abundance of repetitive features found within them. Stationary, computer hardware, identical furniture. These all appear in perfect order until human intervention turns them into organised chaos. My work explores this curious relationship through a combination of contrasts. Through the use of digital technology and traditional hand skills I create a balance between active and static, organic and geometric, machine and handmade. I use the cube, a reference to an office cubicle, as a basis for many of my pieces. It acts as a starting point of transformation of a basic shape into a vibrant, energetic object.

I am a Russian born, Glasgow based jewellery designer and maker. Back in Russia I attended a classical art school, where I was taught strict rules of composition, technical drawing and watercolours. I first arrived to Scotland at the age of 17 to attend the Glasgow School of Art, where art and design were taught in a completely different way: liberating, free and open-minded. I studied at the GSA for 4 years and graduated in June 2016. Today I aspire to combine these two very different approaches in my work to create a unique mix of strict rules and geometry combined with organic, free flowing motion of thought.

- Evgenia Balashova

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Photographs and Words: Evgenia Balashova Editorial: ARTICLE

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COLOUR

LOOPS

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‘Loop is a collection of necklaces, earrings and bracelets which draws on the natural colours and shapes of the natural coastal landscape and the industry which takes place there’.

‘The LOOP collection is inspired by my recent move from London to a coastal village in Fife, Scotland. My new studio sits on a cliff above a beach and looks over the Firth of Forth and Edinburgh to the East and then West out to the North Sea. The forms and colours of the new collection are influenced by the colours of the sea and sky under different weather conditions, but also the fact that the Forth is still an important part of Scotland’s industrial sector.

Historically potteries, fishing and coal mining were dominant; now vessels carrying enormous steel structures for new off-shore wind farms and decommissioned oil rigs can be seen up and down the estuary and out to the North Sea. Items washed up on the beach reflect this industrial heritage, shards of pottery; swirling patterns of black sand (made of coal); rusted metal and worn concrete pebbles’.

- Kate Trouw

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The SPLINE collection is based on the relationship between the intricately designed, man-made streetscape of the city and the unpredictable effects of wear and weather on the surfaces of which it is made. In other words, the interaction between geometry (intentional design) and patterns created by chance over time, intentional or accidental.

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I am an architect turned jeweller living and working in Fife. I studied Architecture at ECA, graduating in 2004, and then worked as an architect in London for 10 years.

In 2014 I decided to move into jewellery making as I was fed up with the length of time it takes to turn ideas into buildings and the loss of creative control that comes with working as part of such a big team.

With jewellery, and particularly polymer clay, I can test an idea in a matter of hours.

I use polymer clay as it's a versatile material which has interesting properties to exploit.

My designs are heavily influenced by my surroundings, with my first collection reflecting the surfaces and geometry of London. My second collection was designed after moving to my seaside studio and the colours and shapes of the coast have made their way into the designs. Stockists include Tate Modern and the V&A. My aim is to create elegant yet playful statement pieces which can be worn every day.

Photographs and Words: Kate Trouw Editorial: ARTICLE

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THIS IS HOW WE

HUE

IT

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‘Working from my home studio, I create individually designed and handcrafted genuine leather and pure wool felt accessories. Each purse, clutch bag and wallet is cut and stitched by hand, with an emphasis on simple practical shapes, exquisite colour combinations and highquality materials.

Using the landscape from both home and my travels as my colour palette, I source genuine soft leather hides and pure wool felt in contrasting colours. I work entirely by hand from making patterns, to cutting the leather and stitching each piece together.

My aim is to create simple and functional yet beautiful products, which will last a lifetime.’ - Jude Gove

Photographs and Words: Jude Gove Editorial: ARTICLE

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IN THE STUDIO:

LAURA SPRING Bold, graphic prints combined with bright colours transformed into beautifully crafted products are at the core of Laura Spring.

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Firstly can you tell us who you are and a wee bit about your business?

I'm a textile designer/screen printer based in Glasgow with a huge love for colour and bold prints. My business started kind of by accident in 2011 after a journalist (Charlotte Abrahams) saw my wet weather suitcase I had made for a Craft Scotland show earlier in the year and invited me to be part of her 'Spotted' showcase at the trade show Top Drawer in London. I was away on a craft residency at Cove Park at the time so had to pull together collection quite quickly, but I did and it all snowballed from there!

Things have developed a lot in those five and half years and I'm happy to say I now work with a local manufacturer to produce 90% of my collection which is great because it means I have more time to focus on designing, printing and planning for the future. I love working on projects/commissions too, so am usually juggling multiple things at once but it's how I enjoy to work!

What made you want to get into the textiles industry?

I’d always loved textiles from a young age, but somehow ended up studying Visual Communication for my degree at The Glasgow School of Art. Much of my work during that time was more ‘handmade’ than computer made and it’s where I learnt to screen print. As soon as I graduated I started trying to get work in a more textiles based

environment, as it was what I felt most excited by and probably the most natural to me. I didn’t really know where I fitted within textiles at that point but knew I loved to ‘make’ and design so completed a placement with Timorous Beasties pretty much straight after graduating and then spent several years working in the costume department of TV, films and opera before combining my passion for screen printing, fabrics and design to begin my own practice in 2011.

What does a typical day look like for you?

There is really no such thing for me. I think part of running a small studio is that you have to get involved in many aspects of the business so each day is different depending on the time of year and things that I’m working on. A typical studio day though usually starts with some emails at home, then arriving at the studio about 9.30am where I’ll stay until about 6.30pm. I’m lucky to be in a lovely studio environment where we all tend to eat lunch together which is really nice. It’s good to take a proper lunch break and hear about someone’s sculpture problems (I share a building with mainly fine artists) or discuss each other’s lunch options. It refreshes the brain for the afternoons tasks!

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What is your favourite thing about your job?

What has been the most valuable thing you’ve learned along the way?

That there’s so much variety in what I do.

I love that I wear many hats – designer/ printer/explorer/researcher…I love working on a variety of projects as well as designing collections, it keeps it interesting and I’ve been really lucky that my job has taken me to many exciting places and working on many exciting commissions.

I think there’s a couple of really valuable things I’ve learnt. The first being, always trust your gut instinct. When you run your own business, it’s essentially all your own ideas/vision pouring out in to the world and sometimes you know there’s something you want to do or a decision that needs to be made and it’s hard to explain why but you know it’s the right thing for you, so my advice is to always listen to that voice. It’s really important in a highly competitive industry to remain true to yourself, it will keep you focused, in love with what you do and I think, make your company stronger.

What does your workspace look like?

I’m based in an old sawmill on the north side of Glasgow by the canal. My workspace is a double studio – one side is my print room, the other more of an office/clean space. Quite often it’s a bit chaotic as there’s always multiple things to manage but I love it when I have my print class once a month as it makes me do a really good tidy up. I also have quite a few plants in my space – plants are important.

What is the best piece of advice you’ve ever been given?

Be kind to yourself. Running your own business can be all consuming so it’s important to invest in yourself – take a holiday/day off etc. You’ll do much better work if you do.

I would also say that I’ve also learnt that mistakes are inevitable so it’s important to learn from them and move on in a positive way. No-one knows everything, sometimes it can be painful – financially or emotionally but the recovery is the most important thing and how you handle it, so be prepared to fail and have the courage to do things that might scare you and make you fail, but it will lead to better things, I’m sure of it! Staying in your safe place is never a good idea in my opinion so be brave!

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‘There’s so much variety in what I do. I love that I wear many hats – designer/printer/ explorer/researcher’.

What has been the most exciting project you’ve worked on?

I actually feel incredibly lucky to have a few projects to choose from in regards to this question. Without doubt India Street (a project curated by Katy West) was a total highlight as it involved working with a small group of amazing designers from Scotland and India and then being taken over to India to learn how to block print with an incredible team of crafts people. The two weeks we spent in India were so rewarding and enriching for me as a designer. The exhibition at Tramway last summer was a delight to be part of and I think told the story of the project so well and I’m excited to be continuing the project with a workshop on Mull shortly.

Interview: Kimberley White, https://www.textilescotland.com/Member-of-the-Moment/4861431 Editorial: ARTICLE

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THE WORLD of

RISOTTO

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What was it about riso that got you hooked?

Primary coloured polka dots flirt with tangerine foliage.

Hands, eyes and limbs dance among zig zags. Bananas bounce, and palm trees are pink. Welcome to the world of RISOTTO.

By layering bold colour and playful patterns, Gabriella Marcella’s design swirl and oscillate upon the surface. Her studio, RISOTTO, is based in Glasgow and specialises in the magnificently experimental medium, risograph, that you’ll find adorning print, stationery and apparel. Alongside this print service she is prolific in set, mural, branding and interior design, and is always on the hunt for a new material to work on.

Back on terrafirma after a recent trip to India, we caught up with Gabriella. We were particularly excited to hear about an up and coming collaboration with Papersmiths favourites Slowdown Studio, her sticker collection and the hidden gems of Glasgow.

RISOTTO was set up through my desire of owning the means of production. Being able to play and experiment with the processes at my fingertips has been so influential to my design process and work. The risograph was therefore the perfect print machine as it encourages experimentation, quick outputs and a wonderful, limited ink spectrum.

Being a print service has also allowed me to meet and work with many different creatives, both locally and internationally. In parallel to this, we producing new product ranges each season - and this grants me a regular outlet to play with my own designs and marry them with my love for stationery.

Earlier this year Liberty London began stocking RISOTTO’s stationery, and you’re constantly working on commissions, murals and designs outside the studio. What would be your dream collaboration and what surface would you like to see your patterns adorning next?

I love the idea of working with new materials and scales. Interiors are really interesting to me. My dream commission would be to design a game show! Recent collaborations include a suitcase design for Away. We’re taking it a step further this January, and I’ll be flying out there to paint one of their flagship stores in LA.

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I’m also working with Oiôba on a new swimsuit, and with Slow Down Studio on a blanket for 2018. We will also be launching a new RISOTTO capsule collection in Spring, which will feature all over print garments!

Your studio at The Glue Factory looks incredible. Do you have any favourite objects in this space?

I think it would be all the weird and wonderful machines and tools for making all sorts of paper related things! It’s a fun workshop to play in.

How do notebooks, sketchbooks, pens and pencils play a part in your creative process? Do you have any favourite tools for creating?

Unglamorously - I mostly design on my computer! I jot down random thoughts and plans on anything that’s in front of me and I love making lists as many others do. I think that’s why we made the Hit List Notepads and Weekly planners. They’re geared up for people like me!

Do you collect anything a little bit zany?

Tell us about your love of zines.

I’ve collecting Panini stickers for years now.

My Fiorucci collection is almost complete, and there are some real gems in there. I buy and hoard anything that has colourful design on it. 40s music sheets, 60s packaging, 90s zines - so many unassuming delights!

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Take us off the beaten track in Glasgow.

Where are your favourite hidden gems?

Glasgow has had some real gems. Food wise it has to be Alchemilla - a friend launched this last year, and it’s doing amazingly well. Best place in town. Instrmnt are a really interesting watch company and their concept store has a great collection of magazines, selected clothing and furnishings.

The Modern Institute is round the corner from here and is one of the best galleries for contemporary art. These are both in the Trongate area, which is packed with galleries, creative spaces, restaurants, and interesting shops.

If you’re looking for baked goods - then I’d go to Cotton Rake - delightful pastries, and I recommend the black pudding sausage roll to anyone that hasn’t been.

Name an artwork or piece of design that made you go ‘woah!’ in the last week.

David Mendez Alonso and his company Outsiders Division. I’m pretty sure he started out as an illustrator, and this stuff with fashion he’s doing now blows my socks off - I love it all!

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What does 2018 hold for you and Risotto?

I’m keen to head back out to India to continue on with some projects that have been ongoing for the past few years.

Block printing and screen printing in the workshops there is such a hands on experience, and being able to work directly with local artisans is really fulfilling.

Aside from this, there will no doubt be more collaborations, more travel, more workshops, more products and more printing!

Interview: Rebecca Lee Images: RISOTTO Editorial: ARTICLE

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CASTING

COLOURS

with Emma McDowall

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Studio Emma was created in 2016 by Scottish artist Emma McDowall after she discovered her love of concrete from the modesty of her mothers garden shed.

After one year of experimenting with recipes, moulds and forms, Emma now creates collections of contemporary concrete products including vessels, art objects and home wares from her own studio in Edinburgh.

Each piece is carefully hand cast in her studio with many pieces still moulded using found or recycled materials. Each product is completely unique in its colour, texture and design – suited to a curated space, to be viewed as art, craft and product.

The main focus of the work is colour and material play. Each colour palette is deliberate and carefully considered however, the lack of control over the process results in a naturally occurring surface pattern and textural imperfections.

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Words: Emma McDowall Images: Emma McDowall

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STACKS

&

SWIPES

Grace Woodcock

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Tell us about yourself, your medium and the main focus of your practice?

I recently graduated from Edinburgh College of Art, including a five-month stint at The Academy of Art, Architecture and Design in Prague. I make paintings which playfully negotiate the tension between the digital and the analogue. I’m intrigued by my own attachment to technology and the incessant need to refer back to various glowing screens for information (or out of boredom). Thinking about the inherent similarities between the flat surface of a smart screen and the surface of a canvas, my work explores the disparity between real space, pictorial space and virtual space in a world dominated by digital screens.

Over the last year I’ve been using the motif of the ‘swipe’ through my work — the greasy mark smeared across our screens by a language of swipes, clicks, flicks, taps and drags. I’ve collected a catalogue of these micro-gestures — recording which marks sent texts or tracking an unsolicited Facebook stalk… The resulting isolated marks are really quite beautiful, quite calligraphic. It’s the universal language of our Internet Age and I find a lot of joy in the fact that something so digital looks so painterly.

I’m also toying with gendered conceptions of the domestic interior and of colour. I often think about the traditional role of paintings as a decorative object for the home.

A lot of my research examines the blurring of high-art to consumer culture, always with an emphasis on what’s ‘typically girly’. I made a series of paintings last year in 1960’s bathroom suite colours and I’m currently working from a new palette taken from Gucci’s Fall/Winter 2016 Runway.

What have you been doing since graduation - where could we have seen your work, what projects you’ve been working on and how you’re finding life as a grad?

After ECA degree show and a group exhibition at Six Foot Gallery in Glasgow, I moved back to North London. I spent a few months working in arts communications but balancing my work and studio time with a full-time job was impossible. From my degree show I was lucky enough to be selected to show at RSA: New Contemporaries and have since been shortlisted for exhibitions in Leeds and Dundee, so I left my job to focus on the proposals for these shows. Thankfully it paid off, I’ll be exhibiting at all three next year.

I’ve set up a studio space in a barn and I’m getting back into the swing of making work!

It’s been quite different having to generate new ideas in an isolated environment without other people to bounce off.

Recently I’ve mainly been working on new material research. In my final year, I used a lot of wax and I’m getting really into casting.

Interview: Art Week, https://www.artweek.com/blog/interview/4series-112-grace-woodcock-fine-art-graduate# Images: Grace Woodcock

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GLASGOW

SOAP COMPANY

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I am Ashley, an Aromatherapist from Glasgow. I make a range of Handmade Bath and Body Products. All of my ingredients are sustainable sourced, cruelty free and locally sourced where possible. A lot of them are also Vegan and all are suitable for Vegetarians. All of my products are handmade by me in Glasgow, Scotland.

Words: Glasgow Soap Company Images: Glasgow Soap Company

So many mass produced cosmetic products contain cheap bulkers which are known irritants and sometimes even carcinogens.

I am passionate about ensuring all of my products are Paraben and SLS free and are suitable for sensitive skins.

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WELCOME to the Form issue Joining the autumn issue for fascinating discussions on the subject of form, texture and movement are some of the leading artists in crafts, fashion and design.

In our exploration of form, we speak to ceramics maker Gavin Burnett. Cecilia Stamp reveals the inspiration behind her abstract form contemporary jewellery.

Heather Woof delves into pattern, rhythm and movement to create her slinky necklaces. The creative duo Green Thomas combine their love of colour and pattern to craft their knitted scarves collection.

Influenced by living in Scandinavia, Meg from the Store Hus, creates practical homeware products featuring clean and timeless patterns.

In a dialogue with Browen Sleigh, we discuss her explorations of space, challenging perceptions of the ordinary by presenting it in an unfamiliar way.

Under the spotlight in this issue is also the art of the creatives from the ARTICLE’s workshops.

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‘I have explored the traditional glass cutting technique “battuto” to create a highly textured, tactile surface on porcelain forms.’

- GAVIN BURNETT

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FACETED

FLOWING

FORMS

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‘ Porcelain is a challenging material to work with but its unique qualities as a clay body has driven me to investigate it’s wide potential through slip casting, hand building and throwing.

Fascinated by process and enhancing a technique, I have explored the traditional glass cutting technique ‘battuto’ to create a highly textured, tactile surface on porcelain forms. This cutting technique allows me to exploit the materials translucent nature seeing the interior colour illuminating the exterior. I work intensively and methodically, absorbing the processes through production.

The faceted flowing forms are individually created though an almost intuitive mark making.

The forms I create are another important element of my work. I am naturally drawn to designing objects that have a function.

I enjoy the relationship between user and object. Many of the pieces I produce often immerge from abstract details in art, architecture and/or interior design.

More recently, I have been exploring multilayered slipcasting to create work. I have a new found appreciation for the scientific elements and methods of working with colour. I am starting to blur the boundaries between the usable and the decorative by creating more individual pieces and collections’.

- GAVIN BURNETT

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Words: Gavin Burnett Images: Gavin Burnett, http://cargocollective.com/gavinburnett

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CHUNKY

SHAPES Inspired by abstract forms from machinery, architecture, packaging and the man-made, Cecilia creates graphic and super wearable contemporary jewellery. With an eye for colour and shape, she uses various materials including enamel, resin and precious metals to make each piece by hand in her studio in Glasgow. As well as her ready-to-wear range, Cecilia takes commissions ranging from custom colour-ways to wedding bands and engagement rings.

Cecilia graduated with First Class Honours in Jewellery & Silversmithing from Edinburgh College of Art, and went on to complete an MDes in Printed Textiles from the School of Textiles & Design, Galashiels.

She also teaches part-time with the Central Scotland School of Jewellery, Dunblane.

As well as jewellery, Cecilia is a freelance textiles and print designer.

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Words: Cecilia Stamp Images: Cecilia Stamp, http://ceciliastamp.com

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IN MOTION

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Heather Woof designs and makes contemporary jewellery from her Edinburgh studio.

Inspired by pattern, rhythm and movement, Heather's designs are characterised by clean lines and sculptural forms. Heather has a passion for making, creating each piece with a focus on refined detail and beautiful craftsmanship.

Heather has won multiple awards for her work, including a gold award from the prestigious 'Goldsmiths Craftsmanship and Design Awards 2016. She exhibits internationally and throughout the UK.

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Words: Heather Woof Images: Heather Woof, https://www.heatherwoof.com/

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PATTERNS

of

WARMTH

Green Thomas are design duo Emma Green and Alan Thomas Dibble. Graduates of the prestigious Central Saint Martins in London both have worked with global brands and retailers designing knitwear.

They launched their brand in 2015 and combine their love of pattern and colour with a passion for knitting in Scotland. The range is stocked in premium department stores and exclusive boutiques in the UK, Europe, Japan and the USA. Our collection features contemporary knitted accessories all made in Scotland, world renowned for the quality of its product.

Each piece embodies the spirit of the maker, showcasing their passion, knowledge and talent.

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Made Local When we first graduated and started working in fashion most companies were well on their way to move production offshore to gain advantages in other labour markets that were rapidly expanding at the time. We both spent time in lots of locations round the globe working with wonderful people and in wonderful places and too much time in airports.In a global marketplace it was easy to forget that quality products are still made close to home.We committed at the start that we wanted to make as locally as we could and set about searching for materials and manufacturing partners.

Quality Scotland has always had a tradition of producing knitwear. Globally renowned and synonymous with quality. We searched far and wide and found some great family run businesses that are still excelling in making in Scotland. We have developed a relationship with all our makers and they have spent time sharing some of their wisdom so we can design products that are Made in Scotland.

Our aim is to use the skills and workmanship of these makers and design beautiful contemporary product with an emphasis on quality.

Colour and Pattern Scotland is the home of a rich heritage of patterns used in textiles and knitwear. From Fair isle to Argyle we love them all. We love to play with pattern, with scale and repeated elements to create a new way to look at pattern.

We enjoy what colour can do when designing from classic combinations to experimenting with off beat mixes to create something unexpected.

Words: Green Thomas Images: Green Thomas, https://www.greenthomas.com/

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Words: Store Hus Images: Store Hus, http://www.thestorehus.co.uk

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Time spent living in Scandinavia and Scotland has cultivated a deep appreciation for decorative yet functional everyday design. Working with this idea The Store Hus creates practical homeware products featuring clean and timeless patterns.

It is important to us that our products are made from natural fabrics and environmentally friendly inks and printing processes. All our manufacturing is done within the UK with the exception of our birch wood trays which are hand made in Sweden using the same steam bending techniques used there since the factory started in the 1950's.

THE STORE

HUS

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BRONWEN

Bronwen Sleigh is a multi-disciplinary artist who takes inspiration from industrial architecture, unused and forgotten urban spaces, and environments at the edge of the city. Her work provokes an extended and considered dialogue with these spaces, which she transforms through the processes of her practice. Sleigh’s work explores space rather than describing it, challenging perceptions of the ordinary by presenting it in an unfamiliar way.

Born in 1980 and raised in Mid-Wales, Bronwen Sleigh received her BA from Glasgow School of Art and MA from The Royal College of Art, where she was selected for a six week exchange to The University of Calgary, Canada. She has worked for several prestigious arts organisations including The Royal College of Art, The Royal Academy Schools as a Print Fellow and at Edinburgh Printmakers as their etching technician and collaborating printer. The artist has exhibited widely both in the UK and overseas. Her work is held in numerous collections around the world. Sleigh lives and works in Glasgow.

Words: Bronwen Sleigh Images: Bronwen Sleigh, http://www.bronwensleigh.co.uk/limited-editioned-prints/im1ifcconljzdekap5h6n2h03poo53

SLEIGH

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LOVE

&

LAUGHTER

We are a Glasgow based Vegan Friendly Artisan Soap Company who produces a superior product range that is both considered and beautiful.

The training as artists brings to the mix a creative twist to the design and packaging of TWA BURDS SOAPS. All of our product are cooked up in our workshop by hand and come with an extra sprinkling of love and laughter.

Our soaps slices are an everyday luxury that will leave your skin clean, moisturised and smelling beautiful. As well as using these beauties as hand soaps, Twa Burds encourage you to use your soap slices in the bath or shower. They are extremely beneficial to the skin and are a cost effective alternative to shower gel.

All of our soap slices have a vegetable glycerine base which is beneficial for softening the skin, helpful for retaining moisture, and is non-irritating and hypoallergenic. The characteristics of vegetable glycerin soap makes it a great choice for people with sensitive or dry skin conditions. The majority of commercial soaps on the market contain harsh chemicals that rob your skin of its natural protective oils.

Our soaps contains no animal products making them a perfect vegan friendly natural alternative for skin care.

Twa Burds Soaps are against animal testing and do not add any parabens, unnecessary preservatives and most certainly do not use palm oil within our products.

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Words: Twa Burds Images: Twa Burds

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